presented  to  the 

UNIVERSITY  LIBRARY' 
UNIVERSITY  OF  CALIFORNIA 
SAN  DIEGO 

by 
Douglas  Warren 


The  ARCHITECTURE  and  LANDSCAPE 
GARDENING  of  the  EXPOSITION 


THE  ROTUNDA  OF  THE  PALACE  OF  FINE  ARTS 
A  VIEW  BY  NIGHT 


THE  ARCHITECTURE 

AND  LANDSCAPE 

GARDENING  of  the 

EXPOSITION 

A  PICTORIAL  SURVEY  OF 

THE  MOST  BEAUTIFUL  OF  THE 

ARCHITECTURAL  COMPOSITIONS 

OF  THE  PANAMA-PACIFIC 

INTERNATIONAL 

EXPOSITION 

DESCRIBED  BY 

MAUD  WOTRING  RAYMOND 

AND  OTHERS 
WITH  AN  INTRODUCTION  BY 

LOUIS  CHRISTIAN  MULLGARDT 

F.A.I.  A. 

ARCHITECT  OF  THE 

COURT  OF  AGES   •   MEMBER  OF  THE 

ARCHITECTURAL  COMMISSION 

OF  THE  EXPOSITION 


PAUL  ELDER  AND  COMPANY 
PUBLISHERS-SAN  FRANCISCO 


COPYRIGHT,  1915,  BY 

PAUL  ELDER  AND  COMPANY 

SAN  FRANCISCO 

The  courtesy  of  the  Cardinell- Vincent  Company, 

official  photographers  of  the  Panama-Pacific  Internatior 

Exposition,  of  granting  permission  to  reproduce  the 

selection  of  official  photographs  appearing  in 

this  volume,  is  gratefully  acknowledged 


SECOND  EDITION,  REVISED 


To  the  spirit  of 

Community  Loyalty  by  which  greatest 
results  are  accomplished.  To  generous  CollecJive 
Energy  which  unites  the  world1  s  people  in 
universal  kindliness.  To  the  whole- 
some people  of  our  San  Francisco, 
whose  united  efforts  unconsciously 
disproved  the  impossible,  this 
book  is  affectionately 
dedicated. 

L.  C.  M. 


REFLECTION 

International  Expositions  are  independent  kingdoms  in 
their  corporate  relation  with  other  countries  of  the  world. 
They  are  phantom  kingdoms  wherein  the  people  do  every- 
thing but  sleep.  They  germinate  and  grow  with  phenomenal 
energy.  Their  existence  is  established  without  conquest  and 
their  magic  growth  is  similar  to  the  mushroom  and  the  moon- 
flower;  they  vanish  like  setting  suns  in  their  own  radiance. 
Thousands  of  neophytes  of  every  race,  creed  and  color  come 
with  willing  hearts  and  hands  to  do  homage  and  bear  manna 
to  nourish  the  sinews  of  a  phantom  kingdom. 

The  National  Constitution  of  phantom  kingdoms  com- 
mands that  the  Spirit  of  beauty,  refinement,  education,  culture 
and  frolic  shall  govern.  The  result  is  that  they  contain  many 
palaces  and  shrines  decorated  with  sculpture  and  painting 
and  that  the  earth  is  studded  with  fountains  and  pools  within 
tropical  gardens.  Such  a  Kingdom  exists  within  a  wonderful 
valley  bordering  on  a  great  sea.  It  is  surrounded  by  high 
velvet  hills  of  fine  contour  and  by  many  real  cities.  As  the 
people  look  down  on  this  phantom  kingdom  from  the  hill-tops, 
or  from  ships  sailing  on  the  water,  they  see  Architecture 
nestling  like  flamingoes  with  fine  feathers  unfurled  within  a 
green  setting. 

If  building  Phantom  Kingdoms  symbolizes  man's  highest 
aims  on  earth,  then  the  same  is  true  when  building  Real 
Kingdoms.  Architecture  and  the  sister  arts  are  the  most 
reliable  barometers  in  recording  human  thought.  They  are 
direct  exponents  of  a  universal  language  wherein  national 
progress  is  most  clearly  read. 

People  who  build  Phantom  Kingdoms  look  hopefully  for 
universal  approval  by  all  mankind. 

L.  C.  M. 


[v] 


CONTENTS 

PAGE 

Reflection.     Louis  Christian  Mullgardt v 

The  Architecture   and   Landscape  Gardening  of  the   Exposition. 

Louis  Christian  Mullgardt 3 

ILLUSTRATIONS 

FACING    PAGE 

The  Rotunda  of  the  Palace  of  Fine  Arts — A  View  by  Night.  Hilda 

Fan  Sicklen,  photo.     (Frontispiece) 
Panorama — Exposition  from  Presidio  Heights.     W.  Zenis  Newton, 

photo 14 

Tower  of  Jewels — The   Illumination    by   Night.     /.    L.   Padilla, 

photo 16 

Fountain  of  Energy — A  View  in  the  South  Gardens.     W.  Zenis 

Newton,  photo 18 

Festival    Hall— South    Gardens    and    Mermaid    Pool.     W.    Zenis 

Newton,  photo 20 

Festival  Hall — The  Terrace  and  Colonnade.     W.  Zenis  Newton, 

photo 22 

Festival    Hall— Mermaid    Pool   in   the   Mist.     Jesse    T.   Banfield, 

photo 24 

Palace  of  Horticulture — The  Dome  and  East  Entrance.     W.  Zenis 

Newton,  photo 26 

Palace  of  Horticulture — Dome  and  Spires  by  Night.     James  M. 

Doolittle,  photo 28 

Palace  of  Horticulture — The  Colonnade  on  the  East.     W.  Zenis 

Newton,  photo 30 

Horticultural  Gardens — Floral  Exhibit  in  the  Open 32 

Avenue  of  Palms — View  from  Administration  Avenue.     W.  Zenis 

Newton,  photo 34 

Palace    of   Education — Main    South    Portal.     W.    Zenis   Newton, 

photo 36 

Palace   of  Education — One   of  the    Minor    Entrances.     Pillsbury 

Pictures 38 

Court  of  Palms — The  Sunken  Pool  by  Night.     W.  Zenis  Newton, 

photo 40 

Court  of  Palms — Portal,  Palace  of  Education.     Jesse  T.  Banfield, 

photo 42 

Court  of  Palms — Portal,  Palace  of  Liberal  Arts.     W,  Zenis  Newton, 

phots 44 

Court   of  Palms — Italian   Tower   from   Main    Portal.     W.   Zenis 

Newton,  photo 46 

Court  of  Palms — In  the  Colonnade  by  Night.  William  Hood,  photo  .     48 
[VII] 


THE  ILLUSTRATIONS 

FACING   PAGE 

Court  of  Palms — A  Curve  in  the  Colonnade.  W.  Zenis  Newton,  photo  SO 
Palace  of  Liberal  Arts — Portal,  From  the  South  Gardens. 

Cardinell-Vincent,  photo 52 

Palace  of  Liberal  Arts — The  Tower  of  Jewels  by  Night. 

/.  L.  Padilla,  photo 54 

Palace  of  Liberal  Arts — Elephant  Fountain  Niche  by  Night. 

W.  Zenis  Newton,  photo 56 

The  Tower  of  Jewels — The  Great  Roman  Archway.  W.  Zenis 

Newton,  photo 58 

The  Tower  of  Jewels — Colonnade,  The  Fountain  of  Youth. 

W.  Zenis  Newton,  photo  60 

The  Palace  of  Manufactures — Portal,  From  the  South  Gardens. 

W.  Zenis  Newton,  photo 62 

Court  of  Flowers — Fountain,  Beauty  and  the  Beast.  /.  L.  Padilla, 

photo 64 

Court  of  Flowers — Portal  of  Varied  Industries.  W.  Zenis  Newton, 

photo 66 

Court  of  Flowers — A  Vista  in  the  Colonnade.  William  Hood,  photo  68 
Court  of  Flowers — Italian  Tower  from  Colonnade.  W.  Zenis 

Newton,  photo 70 

Court  of  Flowers — The  Friendly  Lion  at  the  Portal.  Jesse  T. 

Banfield,  photo 72 

Palace  of  Varied  Industries — Main  Portal.  Cardinell-Vincent,  photo  74 
Avenue  of  Palms — The  South  Facade  by  Night.  Cardinell-Vincent, 

photo 76 

Avenue  of  Progress — The  Fine  Vista  to  the  Marina.  W.  Zenis 

Newton,  photo 78 

Machinery  Hall— The  Central  Arch  in  the  Portal.  W.  Zenis  New- 
ton, photo 80 

Machinery  Hall — The  Colonnade  in  the  Portal.  W.  Zenis  Newton, 

photo 82 

Machinery  Hall — One  of  the  Minor  Entrances.  W.  Zenis  Newton, 

photo 84 

Palaceof  Mines — A  Lamp  Niche  in  the  Court.  W.  Zenis  Newton,  photo  86 
Court  of  Ages — The  Tower  by  Night  Illumination.  William 

Hood,  photo 88 

Court  of  Ages — The  Fountain  of  Earth.  Pillsbury  Pictures  .  .  90 
Court  of  Ages — The  Garden  of  Hyacinths.  W.  Zenis  Newton,  photo  92 
Court  of  Ages — A  Glimpse  from  the  Colonnade.  W.  Zenis 

Newton,  photo 94 

Court  of  Ages — A  Vista  in  the  Colonnade.  W.  Zenis  Newton,  photo  96 
Court  of  Ages — The  Tower  through  North  Aisle.  W.  Zenis 

Newton,  photo 98 

Florentine  Court — Palaceof  Transportation.  W.  Zenis  Newton,  photo  100 
Court  of  the  Universe — Through  Three  Great  Arches.  W.  Zenis 

Newton,  photo 102 

Court  of  the  Universe — Triumphal  Arch,  The  Setting  Sun. 

W.  Zenis  Newton,  photo  104 

[  VIII  ] 


THE  ILLUSTRATIONS 

FACING   PAGE 

Court  of  the  Universe — Triumphal  Arch,  The  Rising  Sun.  .  .  .  106 
Court  of  the  Universe — Fountain  of  the  Rising  Sun.  Pillsbury 

Pictures 108 

Court  of  the  Universe — Fountain  of  the  Setting  Sun.  W.  Zenis 

Newton,  photo 110 

Court  of  the  Universe — The  Fountain  Pool  and  Tower.  Janus  M. 

Doolittle,  photo 112 

Court  of  the  Universe — Corinthian  Colonnade  and  Gardens  .  .114 
Court  of  the  Universe — In  the  Promenade  by  Night.  Jesse  T. 

Banfield,  photo 116 

Court  of  the  Universe — A  Niche  and  Urn  by  Night.  Jesse  T. 

Banfield,  photo 118 

Palace  of  Transportation — In  the  Corinthian  Colonnade.  W.  Zenis 

Newton,  photo 120 

Venetian  Court — Palace  of  Agriculture.  James  M.  Doolittle,  photo  122 
Court  of  the  Four  Seasons — The  Night  Illumination.  William 

Hood,  photo 124 

Court  of  the  Four  Seasons— The  Great  Half  Dome.  Jesse  T. 

Banfield,  photo 126 

Court  of  the  Four  Seasons — The  Western  Archway.  W.  Zenis 

Newton,  photo 128 

Court  of  the  Four  Seasons — One  of  the  Colonnade  Murals.  W. 

Zenis  Newton,  photo 130 

Court  of  the  Four  Seasons — The  Ionic  Columns.  Jesse  T.  Ban- 
field,  photo  132 

Court  of  the  Four  Seasons — The  Colonnade  and  Lawn.  W.  Zenis 

Newton,  photo 134 

Court  of  the  Four  Seasons — The  North  Colonnade  by  Night. 

W.  Zenis  Newton,  photo 136 

Palace  of  Food  Products— The  Portal  from  the  Gardens.  W.  Zenis 

Newton,  photo 138 

Palace  of  Food  Products — A  Detail  of  the  Main  Portal.  W.  Zenis 

Newton,  photo 140 

The  Esplanade — North  Facade,  Column  of  Progress.  W.  Zenis 

Newton,  photo 142 

North  Facade — A  View  from  the  Bay.  Pillsbury  Pictures  .  .  144 
Palace  of  Food  Products — A  View  from  the  Fine  Arts  Laguna. 

Jesse  T.  Banfield,  photo 146 

Palace  of  Education — A  View  from  the  Fine  Arts  Laguna.  Cardinell- 

Vincent,  photo 148 

Palace  of  Education— The  Half  Dome  of  Philosophy.  W.  Zenis 

Newton,  photo ISO 

Palace  of  Education — The  Fountain  in  the  Portal.  W.  Zenis  New- 
ton, photo 152 

Administration  Avenue — The  Fine  Arts  Laguna 154 

Palace  of  Fine  Arts — The  Rotunda  and  Laguna.  Jesse  T.  Banfield, 

photo 156 


[IX 


THE  ILLUSTRATIONS 

FACING    PAGE 

Palace  of  Fine  Arts — The  Rotunda  and  Peristyle.  W.  Zenis  New- 
ton, photo 158 

Palace  of  Fine  Arts — The  Peristyle  and  Laguna 160 

Palace  of  Fine  Arts — In  the  Peristyle  Walk.  W.  Zenis  Newton,  photo  162 

Palace  of  Fine  Arts — The  Rotunda  from  the  Peristyle.  W.  Zenis 

Newton,  photo 164 

Palace  of  Fine  Arts— The  Peristyle  Walk  by  Night.  Jesse  T. 

Banfield,  photo 166 

Palace  of  Fine  Arts — A  Fountain  in  the  Laguna.  W.  Zenis  New- 
ton, photo 168 

Palace  of  Fine  Arts — A  Picturesque  Garden  Fountain.  Jesse  T. 
Banfield,  photo 170 

Palace  of  Fine  Arts — The  Garden  and  Fountain  of  Time.  Jesse 

T.  Banfield,  photo 172 

California  Building — Bell  Tower  and  Forbidden  Garden.     .      .      .   174 

California  Building — The  Arches  of  the  Colonnade.  W.  Zenis 

Newton,  photo 176 

California  Building — A  Vista  in  the  Colonnade.  W.  Zenis  Newton, 

photo 178 

California  Building — The  Forbidden  Garden.  Hilda  Fan  Sicklen, 

photo 180 

California  Building — The  Semi-Tropical  Garden.  W.  Zenis  New- 
ton, photo 182 

Netherlands  Pavilion— As  Seen  from  the  Laguna.  Pillsbury  Pictures  184 

Italian  Pavilion — The  Piazzetta  Venetia.     Cardinell-Fincent,  photo  186 

Italian  Pavilion — In  the  Court  Verrochio.  James  M.  Doolittle, 

photo 188 

Avenue  of  the  Nations — Tower  of  Sweden's  Pavilion.  W.  Zenis 

Newton,  photo 190 

The  Esplanade — A  View  of  the  Foreign  Pavilions.  W.  Zenis  New- 
ton, photo 192 

The  Esplanade — A  View  of  the  State  Buildings.  W.  Zenis  Newton, 

photo 194 

The  Zone— A  Holiday  Gathering 196 

The  Zone— The  Bizarre  Decorations.     /.  L.  Padilla,  photo  .      .      .198 

The  Fireworks — Star  Shells  and  Steam  Battery.  Jesse  T.  Ban- 
field,  photo  200 

Zone  Salvo— The  Final  "Big  Noise."     Jesse  T.  Banfield,  photo       .  202 


[x] 


ARCHITECTURE  and  LANDSCAPE 
GARDENING*/ the  EXPOSITION 


THE  ARCHITECTURE  <£«f 
LANDSCAPE  GARDENING 


WHEN  San  Francisco  was  destroyed  by  fire 
in  1906,  many  people  predicted  that  the 
city  would  never  be  rebuilt.  A  great  number 
of  men  and  women  packed  their  goods  and  chat- 
tels and  hastily  bade  farewell  to  the  still  smoking 
ruins  of  a  City  That  Was,  firmly  believing  that 
destiny  had  determined  that  it  should  remain 
forever  buried  in  its  own  ashes. 

There  was  another  class  of  men  and  women 
who  were  optimists.  They  predicted  that  the 
city  would  be  rebuilt,  but  that  it  would  require 
from  twenty  to  thirty  years. 

There  was  still  another  class  of  men  and 
women  who  knew  by  observation  that  it  required 
no  more  time  to  build  ten  buildings  than  one, 
provided  the  Spirit  of  Energy  and  Determination 
existed,  to  fortify  the  desire. 

We  all  know  now  that  the  Spirit  of  Energy 
and  Determination  did  abound  in  San  Francisco 
— that  the  City  did  not  remain  buried  in  its 
own  ashes,  and  that  it  did  not  require  from 
twenty  to  thirty  years  to  rebuild  it.  The  City 
was  not  only  rebuilt  in  less  than  ten  years,  but, 
in  addition  thereto,  an  International  Exposition, 
surpassing  all  previous  Expositions,  was  built 
by  its  people. 

San  Francisco  wisely  selected  for  the  location 
of  this  International  Exposition  what  seemed 
[3] 


The  ARCHITECTURE  and  LANDSCAPE  GARDENING 

to  many  to  be  an  impossible  site,  for  it  was 
disorderly  and  uninteresting  to  look  at.  But 
the  site  was  appropriately  situated  on  the  shores 
of  San  Francisco  Bay — beautiful  in  its  surround- 
ings and  most  convenient  alike  to  its  citizens  and 
visitors.  It  consisted  of  a  pond  and  a  strip  of 
waste  land  and  marsh  land,  apparently  destined 
to  remain  unfilled  and  unorderly  for  years  to 
come.  The  People  of  Energy,  Determination 
and  Desire  have  also  made  this  strip  of  waste 
land  permanently  available. 

The  arrangement  of  this  Exposition  is  dis- 
tinctive because  of  its  Court  Plan.  Eight 
Palaces  seemingly  constitute  a  single  structure, 
containing  five  distinct  courts  or  places  for  large 
public  gatherings,  which  are  open  to  the  sky. 

This  colossal  group  of  buildings,  consisting 
of  the  Palaces  of  Education,  Food  Products, 
Agriculture,  Liberal  Arts,  Manufactures,  Trans- 
portation, Mines,  and  Varied  Industries,  is  ter- 
minated east  and  west  by  Machinery  Hall  and 
the  Palace  of  Fine  Arts.  To  the  south  of  this 
group,  and  on  the  lateral  axis  of  the  two  end 
courts,  are  the  Palace  of  Horticulture  and 
Festival  Hall.  This  group  of  eight  buildings, 
with  its  Tower  of  Jewels,  and  the  separate 
buildings,  Festival  Hall,  the  Palace  of  Horti- 
culture, the  Palace  of  Fine  Arts  and  Machinery 
Hall,  constitute  the  main  structures. 

The  buildings  and  gardens  of  Foreign  Coun- 
tries and  of  the  States  of  the  Union  adjoin,  at 
their  western  termination,  the  thirteen  main 
structures  erected  by  the  Exposition  Company. 
Still  further  west,  are  the  Livestock  Barns  and 
Poultry  Houses.  The  Aviation,  Military  and 
[4] 


The  ARCHITECTURE  and  LANDSCAPE  GARDENING 

Polo  Fields,  including  the  Race  Course,  occupy 
the  extreme  end  of  the  site.  The  amusement 
section,  "The  Zone,"  extends  for  a  distance  of 
seven  city  blocks  eastward  from  the  main  group. 

President  C.  C.  Moore  of  the  Exposition 
first  appointed  an  Advisory  Architectural  Board, 
in  the  fall  of  1911,  consisting  of  Messrs.  Willis 
Polk,  Clarence  R.  Ward,  John  Galen  Howard, 
Albert  Pisses  and  William  Curlett.  This  Advi- 
sory Board  was  succeeded  by  an  Architectural 
Commission,  consisting  of  Messrs.  Willis  Polk, 
Chairman,  Clarence  R.  Ward,  W.  B.  Faville, 
George  W.  Kelham,  Louis  Christian  Mullgardt 
(all  of  San  Francisco),  Robert  D.  Farquhar  of 
Los  Angeles,  McKim,  Mead  and  White,  Carrere 
and  Hastings,  and  Henry  Bacon  (all  of  New 
York);  Messrs.  Bakewell  and  Brown  and  Ber- 
nard R.  Maybeck  were  subsequently  commis- 
sioned as  Exposition  Architects.  The  first- 
named  nine  architects  constituted  the  permanent 
Architectural  Commission  which  recommended 
to  the  Board  of  Directors  the  General  Plan  of 
the  Exposition,  which  was  substantially  followed 
as  a  guide  to  the  results  accomplished. 

Three  important  elements  in  the  design  of 
an  Exposition  are  represented  by  Planting, 
Sculpture,  Color  and  Decoration.  The  Chiefs  of 
these  Departments  were  selected  by  the  Archi- 
tectural Commission  at  its  second  conference, 
August,  1912;  John  McLaren,  of  San  Francisco, 
was  appointed  to  the  important  position  of 
Landscape  Engineer;  Karl  Bitter  and  A.  Stirling 
Calder  of  New  York  were  appointed  chief  and 
assistant  chief  of  the  Department  of  Sculpture; 
Jules  Guerin,  of  New  York,  became  chief  of  the 
[5] 


•The  ARCHITECTURE  and  LANDSCAPE  GARDENING 

Department  of  Color  and  Decoration.  The  Chiefs 
of  these  departments  attended  the  architects'  con- 
ferences and  collaborated  in  their  deliberations. 

Another  very  important  element  in  the 
design  of  this  Exposition  was  represented  by 
the  Department  of  Travertine  Texture,  for  the 
proper  manipulation  of  colored  plastic  materials 
to  give  correct  surface  expression  to  all  buildings 
and  sculpture.  This  department  was  placed 
under  the  direction  of  Paul  E.  Denivelle  of  New 
York.  The  element  of  Texture  as  embodied  in 
the  construction  of  this  Exposition,  has  again 
emphasized  its  general  importance  in  plastic 
architecture. 
THE  MARINA 

The  north  side  of  the  main  group  is  flanked 
by  a  greensward,  called  the  Marina,  which  skirts 
the  bay.  This  enormous  green  carpet  is  bor- 
dered by  walks  and  roadways.  The  Marina 
affords  excellent  opportunity  for  thousands  of 
people  to  view  special  attractions  offered  daily 
along  the  waterfront.  War  vessels  and  pleasure 
crafts  are  always  just  beyond  the  low  Marina 
wall.  An  uninterrupted  view  of  the  bay  and  its 
northern  coast  line  of  hills  and  mountains,  extend- 
ing from  the  Golden  Gate,  west  to  east,  as  far  as 
eye  can  reach,  is  here  obtained  under  most  fav- 
orable conditions.  No  one  will  ever  forget  the 
wonderful  panorama  which  this  Exposition  faces. 
THE  SOUTH  GARDENS 

Flanking  the  south  side  of  the  main  group  is 
the  marvelous  Avenue  of  Palms,  which  appears 
to  have  existed  always.  It  was  established 
A.  D.  1914,  by  John  McLaren,  Landscape  Engi- 
neer, as  part  of  the  most  colossal  system  of 
[6] 


The  ARCHITECTURE  and  LANDSCAPE  GARDENING 

successful  transplanting  ever  undertaken  in  the 
history  of  the  world.  The  South  Gardens  adjoin 
the  Avenue  of  Palms  and  extend  to  the  Expo- 
sition enclosure  along  the  south  boundary  line, 
where  a  wall  fifty  feet  high  and  ten  feet  wide 
has  been  erected  of  a  solid  green  moss-like 
growth,  studded  with  myriads  of  tiny  pink 
star-like  blossoms.  This  great  wall  is  perforated 
by  simple  arched  masonry  entrances,  leading 
through  the  richly  planted  foreground  formed 
by  the  South  Gardens. 

Basins  of  reflecting  blue  waters  extend  to  the 
right  and  left  of  a  central  fountain  of  colossal 
proportions.  The  basins  themselves  are  punc- 
tuated at  their  east  and  west  ends  by  fountains 
of  subordinate  size,  back  of  which  are  Festival 
Hall  to  the  right  and  the  Palace  of  Horticulture 
to  the  left,  as  we  enter  the  green  wall  portals 
from  the  city  of  San  Francisco  beyond.  To  the 
south  and  west  of  the  Foreign  Countries,  States 
Buildings  and  Gardens,  a  graceful  contour  of 
hills  extends,  sloping  onward  to  Golden  Gate, 
and  having  a  coxcomb  of  pine  and  eucalyptus. 
Broad  vistas  of  city,  forests,  water,  hills  and 
mountains  present  themselves  at  every  point. 
Gray,  green,  blue  and  lavender  vistas  come  into 
view  through  portal,  colonnade,  and  arch. 
THE  PALACE  OF  FINE  ARTS 

This  impressive  unit  faces  the  rising  sun  with 
its  colorful  facade.  The  plan  of  this  composite 
structure  suggests  the  Star  and  Crescent  of 
Mohammed.  The  architecture  shows  a  free 
interpretation  of  early  Roman  forms.  It  is,  in 
fact,  a  purely  romantic  conception  by  Architect 
Maybeck,  entirely  free  from  traditional  wor- 
[7] 


The  ARCHITECTURE  and  LANDSCAPE  GARDENING 

ship  or  obedience  to  scholastic  precedent.  Its 
greatest  charm  has  been  established  through 
successful  composition;  the  architectural  ele- 
ments have  been  arranged  into  a  colossal  theme 
of  exceptional  harmony,  into  which  the  inter- 
woven planting  and  the  mirror  lake  have  been 
incorporated  in  a  masterly  way.  The  entire 
composition  bespeaks  the  mind  of  a  romanticist, 
whose  productions  are  swayed  more  by  nature's 
glories  than  by  scholastic  tradition. 
THE  PALACE  OF  HORTICULTURE 

The  appearance  of  this  building  so  clearly 
expresses  its  purpose  that  a  definition  of  style 
promptly  suggests  the  title  of  Horticultural 
Architecture.  Its  decorative  spire-like  finials 
resemble  the  cypress  and  poplar.  The  clusters 
of  floral  ornaments  and  festoons  reflect  one  of 
the  fundamental  purposes  of  decorative  glory  to 
which  all  plant  life  has  been  decreed.  The  bulb- 
like  glass  dome  is  like  an  enormous  dewdrop  of 
beautiful  proportions  and  iridescent  color.  All 
this  beauty  was  conceived  by  Architects  Bake- 
well  and  Brown,  who  have  given  full  evidence  of 
their  appreciation  of  the  purposes  to  which  this 
Palace  was  assigned. 
FESTIVAL  HALL 

This  structure  counterbalances  the  Palace  of 
Horticulture  at  the  east  end  of  the  South  Gar- 
dens. Mr.  Farquhar's  interpretation  of  Italian 
Renaissance  in  this  interesting  building  is  replete 
with  charming  detail ;  it  is  truly  expressive  of  its 
festival  purposes.  It  is  seen  to  best  advantage 
when  reflected  in  the  South  Garden  Pool,  from 
the  circle  surrounding  the  Fountain  of  Energy, 
and  from  the  Court  of  Flowers. 


The  ARCHITECTURE  and  LANDSCAPE  GARDENING 
THE   PALACE  OF  MACHINERY 

This  colossal  structure  of  Roman  type  was 
designed  by  Architects  Ward  and  Blohme.  It 
dignifies  the  east  end  of  the  main  composition 
in  a  most  impressive  manner.  Its  general  char- 
acter is  similar  to  the  Roman  baths  of  Caracalla. 
The  vestibules  are  particularly  impressive,  when 
viewed  longitudinally.  The  interior  Roman 
vaulting,  formed  by  myriad  trusses,  is  similarly 
impressive  in  form  and  scale  to  the  interiors  of 
renowned  existing  Basilicas.  The  surrounding 
tree,  shrub  and  flower  planting  along  the  simple 
outer  walls  is  rhythmically  consistent  with  the 
Roman  niches  and  entrances  and  lends  added 
charm  to  the  dignity  of  this  tremendous  struc- 
ture. The  cornices  are  especially  noteworthy  in 
their  detail,  scale  and  proportion. 
OUTER  WALLS  OF  THE  GROUP 
OF  EIGHT  PALACES 

The  impressive  simplicity  of  the  outer  walls 
is  enhanced  by  a  succession  and  variety  of  por- 
tals, niches  and  arcades  of  Spanish  and  Italian 
origin  of  great  beauty.  The  simple  dignity  of 
the  plain  travertine  wall  surfaces  is  heightened 
by  tile-covered  cornices  terminated  by  pavilions. 
A  rich  foreground  of  rhythmic  planting  of  trees, 
shrubbery  and  flowers,  emphasizes  the  unity  of 
the  eight  palaces,  the  corporate  purposes  of 
which  have  been  so  successfully  interpreted  by 
Architects  Bliss  and  Faville. 

The  typical  domes  surmounting  the  eight 
palaces  also  express  the  similarity  of  purpose 
for  which  these  palaces  are  intended.  In  depict- 
ing the  industrial  arts,  these  domes  lend  an 
Oriental  expression  to  the  entire  composition, 

[9] 


The  ARCHITECTURE  and  LANDSCAPE  GARDENING 

consistent  with  the  citadel  character  of  the 
general  scheme.  The  banner  poles,  with  their 
Oriental  streamers,  and  the  illuminating  stand- 
ards, set  in  the  foreground  planting  of  the  outer 
walls,  lend  a  consistent  festive  character  to  these 
long  facades. 
THE  TOWER  OF  JEWELS 

The  appellation  "of  jewels"  became  an  addi- 
tion to  the  original  title,  after  the  Tower  was 
thus  gorgeously  arrayed.  The  Tower  was  con- 
templated in  conjunction  with  the  main  group 
of  palaces,  as  a  clue  to  the  composition,  and  as 
of  vital  importance  to  the  general  plan.  Its 
composite  architecture  can  best  be  defined  as  of 
White  and  Yellow  Race  derivation.  It  clearly 
indicates  a  mingling  of  the  architectural  charac- 
teristics of  the  people  of  the  entire  world,  as  the 
architects,  Carrere  and  Hastings,  probably  in- 
tended. It  gives  definite  expression  to  the 
international  purposes  for  which  this  Exposition 
is  designed.  The  jewel  enrichments  add  effec- 
tively to  its  Oriental  regal  display.  The  Tower 
constitutes  an  indispensable  integral  in  the  unit 
composition.  It  appears  to  best  advantage 
under  the  mysterious  effects  produced  by  Mr. 
Ryan's  night  illumination. 
THE  COURT  OF  THE  FOUR  SEASONS 

This  dignified,  restful  court  of  Roman  classic 
character,  designed  by  Architect  Henry  Bacon, 
expresses  the  Season  theme  perfectly.  The 
alcoves,  which  symbolize  the  Four  Seasons,  are 
admirably  conceived  in  their  relation  to  the 
entire  composition.  The  arched  side  approaches 
of  the  colonnades  and  the  colossal  Roman  niche 
at  the  south  end  together,  form  a  glorious  compo- 
[10] 


The  ARCHITECTURE  and  LANDSCAPE  GARDENING 

sition  which  has  been  greatly  enhanced  by  the 
arrangement  of  planting  by  Mr.  Bacon. 
THE  COURT  OF  THE  UNIVERSE 

This  colossal  court  of  oval  form,  including 
the  Avenue  stretching  to  the  Marina,  is  funda- 
mentally Roman  in  architectural  character,  the 
style  being  largely  attributable  to  its  splendid 
Colonnade  and  Triumphal  Arches.  Its  archi- 
tectural style  is  also  sympathetic  to  the  Orient 
of  the  Far  East  along  the  Mediterranean,  owing 
to  its  domed  pavilions.  The  oval  Sunken  Gar- 
den is  thickly  planted  with  Hydrangeas,  which 
constitute  one  of  the  most  gorgeous  displays  at 
the  Exposition.  The  Tower  of  Jewels  and  the 
Column  of  Progress  at  the  North  and  South  ends 
of  this  wonderful  Court  serve  as  integrals. 
McKim,  Mead  and  White  are  the  architects  of 
this  most  important  of  all  the  Courts. 
THE  COURTS  OF  FLOWERS  AND  PALMS 

These  two  delightful  courts,  designed  by 
Architect  George  W.  Kelham,  are  like  great 
alcoves  in  the  south  wall  of  the  main  group. 
The  Court  of  Flowers  faces  Festival  Hall, 
whereas  the  Court  of  Palms  faces  the  Palace  of 
Horticulture.  Each  court  is  flanked  at  its  outer 
angles  by  towers,  which  form  an  indispensable 
element  in  the  south  facade  and  in  the  courts 
themselves.  The  general  style  is  Italian  Renais- 
sance, suggestive,  in  the  detail  of  its  decoration 
and  planting,  of  the  symbolic  intent  of  these 
courts.  They  are  an  important  factor  in  the 
south  facade  of  the  main  group. 
THE  COURT  OF  AGES 

This  court  is  designed  as  an  historical  expres- 
sion of  the  world's  growth  from  infancy.     It 

[in 


The  ARCHITECTURE  and  LANDSCAPE  GARDENING 

consists  of  a  continuous  arcade  and  vaulted 
ambulatory  along  four  sides,  and  an  altar-tower 
on  its  northern  axis. 

The  decorative  motives  employed  on  the 
surrounding  arcade  are  of  conventionalized  forms 
of  prehistoric  plant  and  animal  life,  expressive 
of  evolution.  The  altar-tower  and  fountain 
symbolize  the  human  and  animal  passions  of 
the  theme. 

The  Gothic  type  of  architecture  of  this  court 
has  not  been  accredited  to  any  preceding  period. 
Its  general  character  supposedly  resembles  Span- 
ish or  Portuguese  Gothic  more  closely  than  any 
other  known  style. 

The  Court,  including  its  avenue  extending 
to.  the  Marina,  was  designed  and  modeled  by 
the  writer  of  this  article,  Louis  Christian 
Mullgardt. 

Over  six  hundred  acres  are  comprised  in  the 
elongated  site  on  which  the  Exposition  stands. 
Millions  of  people  from  all  parts  of  the  world 
have  made  pilgrimage  to  this  realm  of  phantasy, 
and  many  thousands  more  are  on  their  way, 
determined  to  bask  in  the  radiance  of  Good  Will 
toward  All  Mankind,  which  this  Mecca  of  Peace, 
Enlightenment,  Beauty,  and  Inspiration  for  a 
better  and  greater  future  gives  forth.  Its  pur- 
poseful influence  is  destined  to  serve  perpetually 
a  beneficent  cause  in  the  furtherance  of  unified 
international  humanitarianism  after  the  ephem- 
eral vision  of  this  Phantom  Kingdom  has  van- 
ished. 

L.  C.  MULLGARDT. 


[12 


ILLUSTRATIONS  and  DESCRIPTIVE 

NOTES  of  the  ARCHITECTURE 

WLANDSCAPE  GARDENING 

of  the  EXPOSITION 


PANORAMA 
EXPOSITION  FROM  PRESIDIO  HEIGHTS 

From  the  vantage  point  of  Presidio  Heights, 
one  may  see  this  panorama  of  the  Exposition 
and  catch  the  symmetry  of  arrangement  in 
the  walls  of  the  palaces,  in  the  graceful  lines 
of  the  towers  and  in  the  impressive  contour 
of  the  domes.  The  effect  is  largely  due  to 
the  ground  plan,  distinguished  for  its  balance 
and  poise,  which  was  designed  by  Mr.  Willis 
Polk  and  Mr.  Edward  Bennett. 
The  main  palaces,  eight  in  number,  are  built 
around  three  courts,  producing  an  admirable 
compactness  and  unity.  To  the  west  of  this 
central  block  of  buildings,  is  the  Palace  of 
Fine  Arts,  and  to  the  east,  Machinery  Hall. 
The  Palace  of  Horticulture  and  Festival 
Hall  are  located  in  the  great  South  Gardens. 
The  Zone  lies  in  the  extreme  eastern  wing  of 
the  grounds,  and  the  corresponding  section 
to  the  west  is  devoted  to  the  Pavilions  of 
the  Foreign  Nations  and  of  the 
States  of  the  Union. 


14] 


TOWER  OF  JEWELS 
THE  ILLUMINATION  BY  NIGHT 

The  Tower  of  Jewels,  designed  by  Carrere 
and  Hastings  of  New  York  City,  is  the 
centralizing  and  dominating  feature  of  the 
Exposition.  In  its  colossal  dimensions  and 
in  the  imposing  dignity  of  its  position  and 
conception,  it  seeks  to  embody,  in  one  tri- 
umphal memorial,  the  importance  to  the 
entire  world  of  the  opening  of  the  Pan- 
ama Canal;  while  in  architecture,  sculpture, 
mural  painting,  decorative  ornament  and 
inscribed  tablet,  it  celebrates,  in  varying 
form,  the  glory  of  achievement. 
Classic  influences  inspired  the  great,  central 
Roman  arch,  with  its  massive  colonnades 
on  either  side  and  the  Corinthian  and  Doric 
columns,  repeated  on  successive  tiers  to  the 
globe,  upborne  by  four  giant  Atlases,  which 
crowns  the  apex;  but  the  spirit  of  conquest 
and  discovery,  which  vitalizes  the  sculptured 
figures  and  mural  paintings,  is  modern  in  its 
expression  and  in  its  historical  fidelity. 
The  Tower  takes  its  name  from  the  thou- 
sands of  many-colored  jewels  so  cut,  polished 
and  suspended  that  they  reflect  the  sunshine 
with  dazzling  brilliancy  by  day  and  at  night, 
under  the  white  radiance  of  the  searchlights, 
clothe  the  whole  structure  with 
shimmering  splendor. 


16] 


FOUNTAIN  OF  ENERGY 
A  VIEW  IN  THE  SOUTH  GARDENS 


It  was  a  great  undertaking  to  transform  the 
waste  acres  of  marsh  and  mudflats  into  a 
garden  which  would  be  an  appropriate  set- 
ting for  the  Exposition  palaces.  Its  success 
was  due  to  Mr.  John  McLaren,  whose  reputa- 
tion as  a  landscape  gardener  had  long  ago 
been  established  by  his  work  at  Golden  Gate 
Park. 

Passing  through  the  Scott  Street  Entrance, 
one  sees  first  the  South  Gardens,  the  really 
spectacular  feature  of  which  is  the  Fountain 
of  Energy,  designed  by  A.  Stirling  Calder. 
Flanking  this  main  fountain  are  the  two 
smaller  fountains  crowned  by  the  graceful 
mermaids  designed  by  Arthur  Putnam. 
With  their  lovely  pools  and  the  splendor  of 
gushing  waters,  these  three  serve  as  the 
motif  for  the  formal  plotting  of  the  South 
Gardens. 

Monterey  pines  and  cypress,  with  acacia 
and  a  variety  of  flowering  shrubs,  are 
grouped  with  fine  effect.  Balustrades,  orna- 
mented with  plant-filled  urns,  set  off"  the 
great  beds  in  which  flora  from  widely  sepa- 
rated parts  of  the  world  have  been  used. 
The  successive  plantings  of  flowers  keep 
the  gardens  in  continuous  bloom — daffodils, 
tulips,  pansies,  begonias,  dahlias, 
each  in  their  turn. 


[18] 


FESTIVAL  HALL 
SOUTH  GARDENS  AND  MERMAID  POOL 

At  the  eastern  end  of  the  South  Gardens, 
south  of  the  Avenue  of  Palms  and  directly 
opposite  the  Court  of  Flowers  which  breaks 
the  facade  of  the  main  group  of  buildings 
between  the  Palaces  of  Varied  Industries 
and  of  Manufactures,  stands  Festival  Hall, 
designed  to  furnish  a  center  for  the  Exposi- 
tion conventions  and  musical  festivals. 
From  its  character,  the  building  takes  not  • 
only  its  name,  but  its  architectural  and 
decorative  treatment.  It  was  designed  by 
Robert  Farquhar  of  Los  Angeles. 
The  building,  in  its  charm  of  line  and  the 
dignity  and  grace  of  its  proportions,  reflects 
the  best  mood  of  the  French  Renaissance. 
The  great  dome,  with  the  smaller  corner 
domes,  suggests  the  Theatre  des  Beaux  Arts 
in  Paris.  The  graceful  curve  of  the  main 
portal,  the  Ionic  columns,  the  decorative 
corridors  and  the  fine  entrances  are  har- 
moniously and  effectively  developed.  All 
the  sculpture,  which  is  the  work  of  Sherry 
E.  Fry  of  Iowa,  is  classic  in  conception  and 
happily  sympathetic  in  its  suggestion  of 
festivity  or  in  its  lyric  quality.  The  floral 
scheme,  in  its  lavish  massing  of  bloom  and 
rich  color,  enhances  the  attractive- 
ness of  the  building. 


[20] 


FESTIVAL  HALL 
THE  TERRACE  AND  COLONNADE 

The  rounding  sweep  of  portico  and  pillar  re- 
veals the  architectural  style  of  Festival  Hall. 
In  the  sculpture  and  decorative  friezes,  an 
effect  of  airiness  has  been  achieved.  Through 
the  graceful  arches,  formed  by  Ionic  col- 
umns, one  notes  the  impressive  windows, 
showing  the  French  influence.  The  cupola, 
topped  by  the  slender  figure  of  the  "Torch- 
Bearer,"  gives  an  inviting  charm  to  the  side 
entrance,  considered  ornate  but  in  accord 
with  the  architectural  design  of  the  Palace. 
The  site  of  Festival  Hall  is  somewhat  raised 
and  the  slopes  that  lead  down  to  the  Avenue 
of  Palms  are  in  terraces  of  velvety  lawn, 
broken  by  wide  flights  of  steps.  On  either 
side  of  the  main  stairway  are  two  sculptural 
groups,  the  "Flower  Girl,"  before  which,  on 
one  side,  is  placed  an  enticing  "Pan"  and  on 
the  other,  a  shy,  girlish  figure  partially 
concealed  in  the  shrubbery. 


[22] 


FESTIVAL  HALL 
MERMAID  POOL  IN  THE  MIST 


The  skillful  use  of  pools  in  which  is  secured 
the  charming  reflection  of  palaces  and  archi- 
tectural structures,  with  the  softening  ac- 
companiment of  trees  and  shrubbery,  is  one 
of  the  pleasant  features  of  the  Exposition. 
There  is  enchantment  in  a  foggy  day,  for 
one  sees  as  in  a  dream,  lovely  vistas  of  courts, 
glimpses  through  consecutive  arches,  and 
always  the  charm  of  mirroring  pools  and 
lagoons,  where,  should  there  be  no  wind, 
the  reflected  image  makes  as  perfect  a 
picture  as  the  mist-enshrouded 
original. 


[24] 


PALACE  OF  HORTICULTURE 
THE  DOME  AND  EAST  ENTRANCE 

The  huge  dome,  constructed  almost  entirely 
of  glass,  upon  a  framework  of  steel,  is  the 
prdminent  feature  of  the  Palace  of  Horti- 
culture. It  is  French  Renaissance,  in- 
fluenced by  Byzantine,  and  its  proportions 
(it  is  one  hundred  and  fifty-two  feet  in  dia- 
meter and  one  hundred  and  eighty-two  feet 
high)  are  almost  perfect.  The  spires  and 
porticos,  the  colonnades  and  entrances  are 
replete  with  rococo  decorations.  There  are 
garlands  of  girls  used  in  the  friezes  at  the 
base  of  the  minarets,  caryatides  repeated  in 
the  vestibules,  and  everywhere  a  wealth  of 
ornamentation  suggestive  of  a  bountiful 
harvest.  The  brilliancy  of  design  is  height- 
ened by  the  color  scheme  of  green  and  ivory 
used  upon  the  lattice  work  and  travertine 
material.  Messrs.  Bakewell  and  Brown 
of  San  Francisco  are  the  architects. 


[26] 


PALACE  OF  HORTICULTURE 
DOME  AND  SPIRES  BY  NIGHT 


At  night,  when  the  powerful  searchlights 
within  the  dome  are  played  upon  the  trans- 
lucent glass,  the  effect  is  magical,  the  re- 
flections weirdly  changing  in  color  and  shape. 
The  rich  details  of  the  decorations  are 
softened  in  the  night  light.  The  slender 
shafts  of  the  obelisks  accentuate  the  vast 
proportions  of  the  dome.  Even  the  rare 
color  combinations,  which  add  so  much  to 
the  appearance  of  the  Palace  of  Horticul- 
ture by  day,  are  scarcely  dimmed  beneath 
the  artificial  lighting.  Minarets  and  sculp- 
tured friezes  and  the  floral  designs  so  abund- 
antly used  in  the  decoration  are  seen  in 
fairy-like  grace. 

Of  this  beautiful  building  Mr.  Edwin  Mark- 
ham  has  written:     "I  looked  at  the  dome  of 
the  Palace  of  Horticulture  and  saw  strange 
colors  at  play  within  its  dark  green  depths. 
Circles  and  clefts  of  blue  and  red  and  green 
shifted,  faded  and  returned  like  hues  within 
a  fiery  and  living  opal.     It  was  the  workshop 
of  a  maker  of  moons,  who  cast  his 
globes  aloft  in  trial  flights." 


[28 


PALACE  OF  HORTICULTURE 
THE  COLONNADE  ON  THE  EAST 

The  caryatides,  which  are  placed  in  pairs 
along  the  corridors  of  the  Palace  of  Horti- 
culture, were  designed  by  John  Bateman  of 
New  York.  The  balustrades,  together  with 
the  ornamentations  of  garlands  of  fruits  and 
flowers,  convey  the  joyous  note  of  a  carnival. 
The  ceiling  of  the  porches  is  studded  with 
domes,  grilled  with  green  latticework.  From 
the  center  of  these  airy  skylights  are  sus- 
pended lamps  which,  by  night,  convert 
the  corridors  into  brilliantly 
lighted  promenades. 


30] 


HORTICULTURAL  GARDENS 
FLORAL  EXHIBIT  IN  THE  OPEN 

The  Horticultural  Gardens,  lying  south  and 
west  of  the  Palace  of  Horticulture,  are,  in 
reality,  exhibit  gardens,  where  much  of  the 
display  belonging  to  the  Palace  itself  is 
placed.  While  the  decorative  quality  is 
here  less  emphasized  than  the  more  educa- 
tional and  technical  phases  of  horticulture, 
the  gardens  are  at  all  times  lovely  with 
a  luxuriance  of  bloom  and  with  the  effective 
massing  of  trees  and  shrubs. 
The  display  covers  an  area  of  eight  acres, 
and  experienced  gardeners  have  united  to 
develop  the  flora  exhibited  to  a  high  degree 
of  perfection.  The  Netherlands  Gardens, 
the  Rose  Garden,  with  its  International 
Rose  Contest,  the  California  Garden  and 
others  have  contributed  a  perpetual  rotation 
of  flowering  plants  and  shrubs  in  great 
variety  and  with  a  profusion  of  brilliant  color. 
In  the  Forestry  Court  adjoining,  Bernard 
Maybeck,  the  architect  of  the  Palace  of 
Fine  Arts,  has  built  a  lumbermen's  lodge  of 
massive,  rough-barked,  redwood  logs,  but 
of  the  same  charm  of  design  and  harmonious 
beauty  of  proportion  which  charac- 
terize his  greater  work. 


[32] 


AVENUE  OF  PALMS 
VIEW  FROM  ADMINISTRATION  AVENUE 

Looking  down  the  Avenue  of  Palms  from 
Administration  Avenue,  a  delightful  picture 
is  presented.  Double  rows  of  palms  bor- 
der either  side  of  the  Avenue,  with  ferns, 
and  blossoming  nasturtiums  and  geraniums 
planted  directly  in  the  interstices  of  the 
roughened  trunks.  The  walls  of  the  palaces 
are  embowered  in  eucalyptus,  acacia  and 
cypress  trees.  Add  to  this  the  effect  of 
gaily  decorated  flagpoles,  with  pennants  and 
banners  afloat  in  the  breeze,  and  the  half- 
mile  boulevard  is  exhilarating  to  behold. 
Many  of  the  shrubs  and  trees  are  common 
to  all  the  palaces,  but  each  building  has  been 
alloted  a  different  collection  of  flowers  and 
foliage-plants  to  add  a  distinctive  color  tone 
to  the  facade.  When  one  examines  the 
general  sweep  of  the  palace  walls  facing  the 
Avenue,  certain  architectural  units  are 
noticed.  Centering  each  building  is  a  low 
dome  of  Byzantine  design,  with  green  roof 
and  warm  pink  sides.  On  the  corners 
smaller  domes  break  the  monotony  of 
straight  lines.  The  Tower  of  Jewels  and  the 
four  Italian  Towers  complete  the 
inspiring  "walled-city"  effect. 


34 


PALACE  OF  EDUCATION 
MAIN  SOUTH  PORTAL 


The  Palace  of  Education  forms  the  south- 
west unit  of  the  main  group  of  buildings  and 
fronts  on  the  Avenue  of  Palms  and  Admin- 
istration Avenue.  To  W.  B.  Faville  of  San 
Francisco  was  entrusted  the  entire  exterior 
wall  which  unites  in  one  immense  rectangle 
the  eight  palaces  of  the  main  group.  A 
plain  cornice,  edged  with  tiles,  binds  the 
upper  rim  throughout.  With  great  sim- 
plicity and  restraint,  the  wall  spaces  are 
kept  bare  of  ornament,  depending  for  relief 
on  carefully  spaced  portals,  niches  and  wall 
fountains. 

The  south  facade  of  the  Palace  of  Education 
is  broken  by  three  beautiful  doorways,  of 
which  the  central  is  the  largest  and  most 
richly  decorated.  The  distinctive  feature 
of  the  main  portal  is  the  tympanum  in  relief 
by  Gustav  Gerlach  of  New  York,  which 
pictures  the  various  stages  of  education  from 
the  mother  in  the  home,  through  the  adoles- 
cent period,  to  maturity,  when  the  student 
is  self-taught.  Below  is  the  book  of  knowl- 
edge, the  curtains  of  darkness  drawn  back 
that  the  light  may  radiate  from  its  open 
pages.  Above  the  portal's  curve  is  a  globe, 
typifying  the  world-wide  scope  of 
the  exhibit  within. 


[36 


PALACE  OF  EDUCATION 
ONE  OF  THE  MINOR  ENTRANCES 

The  main  portal  of  the  Palace  of  Education 
is  flanked  on  either  side  by  a  smaller  entrance 
partaking  of  the  same  beauty  of  design, 
along  slightly  simpler  lines,  so  that,  while 
preserving  a  distinct  individuality,  these 
minor  entrances  enhance  and  enrich  the 
main  doorway  and  the  three  form  a  unit  in 
their  decorative  treatment.  The  style  is 
Spanish  Renaissance,  inspired  by  ancient 
models,  and  modified  by  Byzantine  in- 
fluences. All  three  show  the  twisted  Byzan- 
tine column,  those  of  the  main  entrance 
being  more  ornate.  The  flat,  sculptured 
panels  in  relief  above  the  smaller  portals,  by 
Charles  Peters  and  Cesare  Stea,  respectively, 
both  deal  with  educational  subjects.  The 
classic  vases  on  either  side  of  the  entrances 
add  grace  and  dignity,  while  the  latticed 
doorways,  used  throughout  the  Exposition 
architecture,  here  effectively  emphasize  the 
Moorish  note.  The  planting  of  trees  and 
shrubs  is  nowhere  happier  than  about  these 
doorways,  with  the  rose  and  mauve  and 
smoke  tones  of  the  fresh  eucalyptus  growth 
against  the  ivory-tinted  wall  and  the  pro- 
fusion of  flowers  and  shrubs 
massed  below. 


38 


COURT  OF  PALMS 
THE  SUNKEN  POOL  BY  NIGHT 

Of  the  five  chief  courts  of  the  main  archi- 
tectural ensemble,  the  two  minor  courts,  the 
Court  of  Palms  and  the  Court  of  Flowers, 
while  lacking  the  more  imposing  size,  dignity 
and  symbolism  of  the  three  interior  courts, 
largely  compensate  by  their  sense  of  inti- 
macy, warmth  and  quiet  charm.  With 
their  sheltered  location  and  sunny  atmos- 
phere, due  to  southern  exposure,  and  with 
the  enchantment  of  architecture,  sculpture, 
painting,  color  and  landscape  effects  with 
which  they  are  richly  endowed,  they  are 
not  only  joyous  and  satisfying,  but  restful 
in  an  unusual  combination  and  degree. 
Both  courts  were  designed  by  George  W. 
Kelham  of  San  Francisco. 
The  Court  of  Palms  lies  between  the  Palace 
of  Education  and  the  Palace  of  Liberal  Arts; 
enclosed  on  the  third  or  north  side  by  the 
Court  of  the  Four  Seasons,  it  is  open  on  its 
southern  exposure  to  the  Avenue  of  Palms 
and  the  Palace  of  Horticulture  which  lies 
directly  opposite.  It  is  a  long  oval  in  shape, 
its  proportions  well  balanced,  and  its  effect 
of  dignity  and  quiet  accented  by  the  two 
sunken  pools  and  the  effective  planting 
of  palms  from  which  the  court 
takes  its  name. 


[40] 


<\ 


COURT  OF  PALMS 
PORTAL,  PALACE  OF  EDUCATION 

In  architecture,  the  Court  of  Palms  is  Italian 
Renaissance.  The  entire  length  of  its  oval 
is  encircled  by  a  colonnade,  pierced  by  three 
deep  portals  which  are  identical  in  treat- 
ment and  which  are  especially  fine  examples 
of  the  Roman  arch.  Their  dignity  is  en- 
hanced by  the  Italian  cypresses  which  flank 
them  on  either  side.  The  portals  open 
respectively  into  the  Palace  of  Education  on 
the  west,  the  Palace  of  Liberal  Arts  on  the 
east  and  the  Court  of  the  Four  Seasons  on 
the  north.  The  colonnade  is  bordered  by  mas- 
sive Ionic  columns  of  smoked  ivory,  which 
in  the  entrances  deepen  into  Sienna  marble. 
The  plain  cornice  which  characterizes  the 
outer  walls  of  the  exhibit  palaces  here  takes 
on  a  richer  ornamentation  to  conform  to 
the  ornate  treatment  of  the  :  ourt,  while  it 
retains  the  parapet  of  red  Spanish  tiles 
above.  Between  the  cornice  and  the  col- 
umns is  a  wide  and  richly  decorated  attic 
or  frieze  where  much  of  the  detail  and  color 
which  help  to  make  the  charm  of  the 
Court  are  massed. 


[42] 


COURT  OF  PALMS 
PORTAL,  PALACE  OF  LIBERAL  ARTS 

The  sympathy  between  architect,  sculptor 
and  colorist  is  nowhere  shown  to  better 
advantage  than  in  the  richly  decorated 
frieze  surrounding  the  Court  of  Palms. 
Panels  of  veined  marble  in  browns  and  pinks, 
deepening  through  rose  tints  to  red,  are 
bordered  by  festoons  and  garlands  of  fruit 
and  flowers  in  varied  shadings  of  blue  and 
pink.  Separating  the  panels  are  caryatides, 
flushed  pink,  with  long,  pointed,  folded 
wings.  They  were  designed  by  A.  Stirling 
Calder  and  John  Bateman,  while  the 
spandrels  over  the  curve  of  the  portals  are 
the  work  of  Albert  Weinert,  as  are  also  the 
graceful,  classic  vases  on  either  side  of  the 
entrances,  the  latter  banded  in  low  relief  by 
dancing  bacchanalian  figures,  while  grinning 
satyr  heads  finish  the  curved  handles.  In 
the  arch  of  the  doorways,  are  three  fine 
mural  paintings,  harmonizing  in  subject  and 
coloring  with  the  spirit  of  the  Court — "Fruit 
and  Flowers,"  by  Childe  Hassam,  on  the 
west,  "The  Pursuit  of  Pleasure,"  by  Charles 
Holloway,  on  the  east  and  "The  Victorious 
Spirit,"  by  Arthur  F.  Mathews, 
on  the  north. 


44 


COURT  OF  PALMS 
ITALIAN  TOWER  FROM  MAIN  PORTAL 

Terminating  the  colonnade  at  either  side  of 
the  entrance  to  the  Court  from  the  Avenue 
of  Palms  stand  the  Italian  Towers,  dis- 
tinguished by  their  grace  of  line  and  pro- 
portion and  their  skill  in  the  use  of  the 
purest  architectural  forms  of  the  Renais- 
sance, no  less  than  by  the  charming  manipu- 
lation of  color  and  ornament.  By  their 
slenderness  and  by  simplicity  of  treatment 
they  produce  an  effect  of  great  height.  They 
were  inspired  by  the  Geralda  Tower  of 
Seville.  The  deep-toned  columns  of  Sienna 
marble  used  in  the  three  Italian  Portals  also 
enrich  the  entrance  to  the  towers.  The 
prevailing  pink  and  blue  color  tones  which 
dominate  the  court  are  delightfully  accent- 
uated in  the  diaper  pattern  decorating  the 
rectangular  wall  spaces  of  the  main  portion 
of  the  towers.  The  upper  design,  repeated 
in  each  of  the  four  corners,  is  modeled  after 
the  Choragic  Monument  of  Lysicrates  in 
Athens.  The  winged  figure,  "The  Fairy," 
lightly  and  gracefully  poised  upon  the  top- 
most pinnacle,  is  by  Carl  Gruppe. 


[46] 


COURT  OF  PALMS 
IN  THE  COLONNADE  BY  NIGHT 

The  illustration  shows  the  colonnade  which 
encircles  the  entire  oval  of  the  Court.  The 
bordering  columns  are  Roman  Ionic  in  dull 
smoked  ivory.  The  general  wall  tone  is  the 
same,  with  panels  of  soft  pink  between  the 
pilasters.  The  vaulted  ceiling  is  blue.  The 
plants  between  the  columns  are  acacias, 
clipped  to  ball  form.  The  swinging  lamps 
are  from  old  Roman  models  in  pink  and 
verde  green.  Classic  figures  are  modeled 
in  low  relief  above  the  arched  openings. 
Looking  north  through  the  Court  of  the 
Four  Seasons,  with  its  long  north  colonnade, 
is  a  superb  vista  across  the  wide  blue  waters 
of  the  bay  to  the  sweeping  hills  beyond.  At 
the  entrance  to  the  court  stands  the  only 
piece  of  sculpture  not  identified  with  the 
architectural  treatment,  "The  End  of  the 
Trail,"  by  James  Earl  Fraser,  one  of  the 
strongest  statues  on  the  grounds  and 
perhaps  the  most  popular. 


[48 


COURT  OF  PALMS 
A  CURVE  IN  THE  COLONNADE 

The  careful  details  of  the  palaces  and 
courts — the  minute  finishing  of  cornice, 
column,  frieze  and  vault,  the  loving  model- 
ing of  sculpture,  the  artistic  planning  of 
vistas,  the  inspired  brushing  of  murals — are 
marvelous  beyond  my  telling.  It  is  an  out- 
pouring of  the  arts  before  the  altar  of 
humanity.  It  is  a  presage  of  what  men  can 
do  when  they  unite  ,in  common  service. 
The  Exposition  has  taken  a  Titan  stride 
toward  this  unified  action  for  a  common 
purpose.  The  artists  have  bent  to  one 
perfect  expression,  like  the  strings  and 
brasses  of  an  orchestra.  Self  was  submerged 
in  a  composite  achievement,  not  obliterating 
individuality  but  leaving  it  latitude  to  har- 
monize with  others.  The  result  is  not  the 
stenciling  of  a  leader's  mannerisms,  but  a 
blend  of  diverse  and  varied  characteristics, 
an  interweaving  of  sympathies,  of  sponta- 
neous and  ordered  impressions.  Here  is  an 
object  lesson  in  the  cooperative  idea  that 
will  not  be  lost  upon  the  world — the  idea  of 
a  transcendent  result  obtained  by  a  unity  of 
noble  efforts,  a  result  that  no  massing  of 
individual  attempts  could  have  achieved. 
— Edwin  Mark  ham 


[50] 


PALACE  OF  LIBERAL  ARTS 
PORTAL,  FROM  THE  SOUTH  GARDENS 

West  of  the  Tower  of  Jewels  is  the  Palace 
of  Liberal  Arts,  balancing  in  architectural 
design  and  embellishment  the  Palace  of 
Manufactures,  which  lies  directly  east  of  the 
tower.  The  niches,  entrances  and  main 
portals  of  the  two  buildings  are  identical. 
Both  were  designed  by  W.  B.  Faville  of 
San  Francisco. 

Like  all  the  buildings  of  the  main  group,  the 
decorative  treatment  is  largely  massed  in 
the  great  doorway,  which  is  distinctly 
Renaissance  in  architecture,  Spanish  in 
general  treatment,  but  Roman  in  the  mas- 
sive dignity  of  the  square,  deeply-arched 
portal.  Its  style  is  adapted  from  ancient 
models.  The  coloring  within  the  arch  and 
in  the  overlaid  ornament  around  and  above 
it  is  a  warm  pink,  effectively  combined  with 
turquoise  blue  and  orange.  The  lace  fan, 
of  Moorish  workmanship,  above  the  doors, 
is  especially  beautiful  in  its  delicate  coloring 
and  fragile  texture  and  in  the  touch  of  light- 
ness that  it  gives.  The  pilasters  on  either 
side  of  the  entrance  are  Corinthian.  The 
long  frieze  above  the  doorway  and  the  fig- 
ures in  the  niches  on  either  side  are  by 
Mahonri  Young  of  Salt  Lake  City. 


[52] 


PALACE  OF  LIBERAL  ARTS 
THE  TOWER  OF  JEWELS  BY  NIGHT 

Either  by  day  or  by  night,  the  Tower  of 
Jewels  is  the  dominating  center  of  the  Expo- 
sition, epitomizing  not  only  its  entire  mean- 
ing and  message,  but  summarizing  in  detail 
its  architectural  development.  In  the  main 
it  follows  the  Italian  Renaissance,  with 
emphasis  upon  the  Greek  and  Roman  ele- 
ments, while  in  the  ornament  it  employs 
many  Byzantine  features. 
The  Tower  is  built  in  seven  stages,  rising 
tier  on  tier,  the  base  a  magnificent  Roman 
arch,  with  colonnaded  courts  flanking  it  on 
either  side.  The  Corinthian  columns  of  the 
colonnades  are  ochre  and  on  each  side  of  the 
archway,  they  are  of  Sienna  marble.  The 
sculptured  figures  by  John  Flanagan,  crown- 
ing the  columns  above  the  arch,  represent  in 
four  successive  types  the  men  who  made 
Western  America-the  adventurer,  the  priest, 
the  philosopher,  the  soldier.  They  are  repeat- 
ed on  each  face  of  the  Tower,  the  "Armored 
Horseman"  by  Tonetti,  on  the  terrace  above, 
being  repeated  four  times  on  each  side.  The 
forms  used  in  the  decorative  sculpture — the 
eagle,  the  wreath,  the  ship's  prow,  the 
various  emblems  of  war — all  symbolize 
victory  and  achievement. 


54] 


PALACE  OF  LIBERAL  ARTS 
ELEPHANT  FOUNTAIN  NICHE  BY  NIGHT 

The  ornamental  fountain  alcoves  placed  at 
intervals  are  important  decorative  features 
of  the  south  walls.  The  shrubbery  has  been 
so  grouped  about  the  niches  that  the  details 
of  the  fountains  are  partially  screened. 
Upon  closer  investigation,  one  finds  an 
elephant's  head  as  the  central  object  in  one 
niche,  alternating  with  a  lion  throughout 
the  series.  They  set  snugly  against  the 
pink  panel  just  over  the  flaring  basin  of 
travertine  wherein  the  water  trickles. 
At  night,  these  niches  are  flecked  with 
shadows  cast  by  the  surrounding  trees. 
Electric  lights,  concealed  beneath  the  water, 
shed  a  warm  glow  upon  the  head  of  the 
elephant  in  its  frame  of  sculptured  half 
columns.  These  fountain  niches,  designed 
by  W.  B.  Faville,  are  in  the  same  Spanish 
style  of  architecture  which  characterizes 
the  entire  south  facade  of 
the  palaces. 


[56 


THE  TOWER  OF  JEWELS 
THE  GREAT  ROMAN  ARCHWAY 

Midway  on  the  south  face  of  the  Tower  of 

Jewels    are    inserted    four    commemorative 

tablets.     The  inscription  on  the   panel   at 

the  left  end  of  the  colonnade  reads  as  follows: 

1501 — Rodrigo  de  Bastides  pursuing  his 
course  beyond  the  West  Indies  dis- 
covers Panama. 

The  Panel  at  the  left  of  the  central  arch 

reads: 

/5/j — Vasco  Nunez  de  Balboa  crosses  the 
Isthmus  of  Panama  and  discovers  the 
Pacific  Ocean. 

At  the  right  of  the  central  arch  the  panel 

reads: 

1904 — The  United  States  succeeding  France 
begins  operations  on  the  Panama  Canal. 

The  Panel  at  the  right  end  of  the  colonnade 

is  inscribed: 

— The  Panama  Canal  is  opened  to  the 
commerce  of  the  world. 


[58 


THE  TOWER  OF  JEWELS 
COLONNADE,  THE  FOUNTAIN  OF  YOUTH 

Beyond  the  colonnades  and  the  great  Roman 

arch,  on  the  north  face  of  the  Tower  of 

Jewels  as  it  faces  the  Court  of  the  Universe, 
\  are  four  commemorative  tablets  similar  to 

those  found  on  the  south  side.     The  panel 

at  the  left  end  of  the  colonnade  is  inscribed: 

1542 — Juan  Rodriguez  Cabrillo  discovers 
California  and  lands  on  its  shores. 

The  Panel  at  the  left  of  the  central  arch 

reads: 

1776 — Jose  Joaquin  Moraga  founds  the  Mis- 
sion of  San  Francisco  de  Asis. 

At  the  right  of  the  central  arch  the  panel 

reads: 

184.6 — The  United  States  upon  the  outbreak  of 
war  with  Mexico  takes  possession  of 
California. 

The  Panel  at  the  right  end  of  the  colonnade 

is  inscribed: 

1850 — California  is  admitted  to  the  Union  as 
a  sovereign  State. 


60 


PALACE  OF  MANUFACTURES 
PORTAL,  FROM  THE  SOUTH  GARDENS 

The  Palace  of  Manufactures  lies  directly 
east  of  the  Tower  of  Jewels  and  fronts  on 
the  Avenue  of  Palms.  In  architectural 
design,  it  duplicates  the  Palace  of  Liberal 
Arts,  the  repetition  giving  strength  and 
simplicity  to  the  entire  south  facade.  The 
dignified  main  portal  is  flanked  on  either 
side  by  two  minor  entrances,  similarly  con- 
ceived and  ornamented,  the  lattice  work 
within  the  archways  relieving  the  solidity 
of  the  design. 

The  composition  of  the  Byzantine  dome, 
with  its  tier  of  latticed  windows,  the 
"Victory"-tipped  gable,  the  tiled  slope  above 
the  arch,  the  bare  wall  spaces  and  the  richly 
ornamented  doorway,  as  seen  from  the 
South  Gardens,  illustrates  the  general  con- 
struction of  the  main  group  of  buildings. 
The  dome  gives  height  and  decorative  effect, 
the  "Winged  Victory"  lightness  and  grace. 
The  latter  figure,  which  is  repeated  on  the 
acroteria,  as  the  gable  platforms  are  called, 
of  all  the  palaces  of  the  main  group,  is  by 
Louis  Ulrich  of  New  York.  It  bears,  out- 
stretched, a  wreath  which  suggests  the 
crown  bestowed  for  work  well  done. 


[62 


COURT  OF  FLOWERS 
FOUNTAIN,  BEAUTY  AND  THE  BEAST 

Between  the  Palace  of  Mines  and  the  Palace 
of  Varied  Industries  lies  the  Court  of  Flowers, 
enclosed  on  the  third  or  north  side  by  the 
Court  of  Ages  and  open  on  its  southern  expo- 
sure to  the  Avenue  of  Palms  and  to  Festi- 
val Hall,  which  lies  directly  opposite.  In 
its  shape,  a  long  oval,  and  in  its  location  it 
is  the  eastern  prototype  of  the  Court  of 
Palms,  which  breaks  the  wall  of  the  main 
group  of  buildings  toward  its  western  end. 
Like  that,  it  was  designed  by  George  W. 
Kelham  of  San  Francisco. 
Both  Courts  are  rich  examples  of  the  Italian 
Renaissance,  with  traces  of  Byzantine  in- 
fluence, and  while  a  superficial  view  might 
pronounce  them  almost  identical,  a  further 
study  reveals  marked  individuality  in  con- 
ception and  development.  In  each,  the  note 
of  emphasis  and  the  tempermental  appeal 
are  entirely  distinct.  The  Court  of  Palms 
is  simpler,  more  dignified,  more  conven- 
tional. The  Court  of  Flowers  is  richer  in 
ornament  and  suggestion,  more  softly  bril- 
liant in  atmosphere.  The  prevailing  color 
is  yellow  relieved  by  pink. 


64 


COURT  OF  FLOWERS 
PORTAL  OF  VARIED  INDUSTRIES 

In  the  Court  of  Flowers,  the  colonnade 
encircling  the  entire  length  of  its  oval  is 
bordered  by  Corinthian  columns  arranged  in 
pairs.  The  smoked-ivory  tone  is  used 
throughout,  except  in  the  portals,  where 
Sienna  marble  gives  a  deep  note  of  color. 
The  highly  ornamental  floral  light-standards 
between  the  columns  occur  elsewhere 
throughout  the  court.  The  cornice  is  edged 
with  red  Spanish  tiles  and  above  the  colon- 
nade runs  a  richly  decorated  loggia  that, 
with  its  suggestion  of  southern  influences, 
enhances  the  warm,  sunny  atmosphere  of 
the  court.  The  repeated  figure  of  the 
flower-decked  and  garlanded  "Flower  Girl" 
is  by  A.  Stirling  Calder.  A  conventional- 
ized frieze  in  delicately  colored  arabesque 
runs  between  the  balcony  and  the  columns, 
the  prevailing  motif  of  which  is  the  griffin. 
The  colonnade  is  broken  by  three  portals, 
opening  respectively  into  the  Palace  of 
Manufactures  on  the  west,  the  Palace  of 
Varied  Industries  on  the  east  and  the  Court 
of  Ages  on  the  north.  These  entrances, 
while  they  do  not  interrupt  the  colonnade 
below,  as  is  the  case  in  the  Court  of  Palms, 
are  made  the  keystones  of  the  ornament  of 
the  upper  balcony,  where  the  triple  arches, 
with  their  decorative  treatment,  furnish 
an  effective  break  in  the  loggia. 


[66] 


COURT  OF  FLOWERS 
A  VISTA  IN  THE  COLONNADE 

The  coupled  Corinthian  columns  are  of 
smoked  ivory.  The  background  of  the  wall- 
spaces  is  the  same,  but  between  the  pilasters, 
occur  panels  of  warm  pink.  The  pilasters 
are  in  pairs  to  harmonize  with  the  pillars 
bordering  the  colonnade.  In  the  portals 
swing  Roman  lamps  in  dull  blue-green.  The 
heavy  bronze  lanterns,  suspended  from  the 
deep-toned  cream  ceiling  of  the  corridors, 
are  Italian  in  design.  At  night,  they  are 
illumined  by  a  soft,  red  glow,  while  the  light 
from  the  standards  between  the  columns  and 
through  the  latticed  doors  of  the  entrances 
of  the  palaces  is  pale  gold.  There  is  no 
direct  lighting  in  the  court,  the  only  other 
illumination  being  the  deep  red  diffusive 
glow  which  brightens  the  Italian  towers 
from  within,  so  that  the  warm,  bright 
charm  pervading  the  Court  by  day,  gives 
way  at  night  to  a  sense  of  seclusion  and 
intimacy  that  makes  a  poetic 
appeal  equally  strong. 


68 


COURT  OF  FLOWERS 
ITALIAN  TOWER  FROM  COLONNADE 

The  four  Italian  Towers,  equally  distant 
from  the  Tower  of  Jewels,  two  on  either 
side,  furnish  the  chief  elements  in  the  fine 
sense  of  balance  and  proportion  of  the  south 
facade  of  the  main  group  of  palaces.  Occur- 
ing  in  pairs  at  the  entrances  of  the  Court  of 
Palms  and  the  Court  of  Flowers  and  em- 
ploying the  same  architectural  elements  and 
decoration,  they  show  a  pleasing  variety  in 
detail.  The  towers  of  the  Court  of  Flowers 
have  more  of  simplicity  in  design  and  give 
an  even  greater  impression  of  height  by  the 
arrangement  of  columns.  The  same  fairy 
by  Carl  Gruppe  crowns  all  four  towers,  and 
helps  to  give  the  name  of  "the  fairy  courts" 
by  which  they  are  sometimes  called.  By 
the  original  design  these  two  courts  were  to 
embody  the  fairy  lore  of  the  Occident  and 
of  the  Orient,  and  the  Court  of  Flowers, 
with  the  magic  of  its  golden  blossoms  and 
its  friendly  beasts,  enters  far  into  the 
conception. 


70] 


COURT  OF  FLOWERS 
THE  FRIENDLY  LION  AT  THE  PORTAL 

With  all  its  loveliness  of  detail  and  witchery 
of  color,  the  prevailing  charm  of  the  Court 
of  Flowers,  true  to  its  name,  lies  in  the 
effective  planting  of  flowers  and  shrubs. 
The  main  path  through  the  Court  is  bordered 
on  either  side  by  spreading  lophantha  trees, 
trimmed  four  feet  from  the  ground  and 
branching  to  a  diameter  of  five  feet  in 
delicate,  lacy  foliage.  Masses  of  flowers  in 
the  pervading  luxuriant  color-tone  carpet 
the  whole  court  with  gold,  while  banks  of 
green  fill  the  corners  and  outline  the  borders. 
The  six  "Friendly  Lions"  with  their  con- 
ventionalized garlands,  by  Albert  Laessle  of 
Philadelphia,  guard  the  three  entrances,  one 
on  either  side.  "Beauty  and  the  Beast," 
the  central  fountain  which  dominates  the 
Court,  is  by  Edgar  Walters  of  San  Francisco. 
The  basin  is  upheld  by  four  alternating 
fauns  and  satyrs  and  about  the  base  of  the 
fountain  is  a  procession  of  beasts  in  low 
relief.  The  statue  of  "The  Pioneer"  by  Solon 
Borglum,  which  stands  at  the  entrance  of 
the  Court,  while  it  bears  no  relation  to  the 
symbolism  of  the  Court  itself,  is  a  companion 
to  "The  End  of  the  Trail"  which  occupies 
the  same  position  before  the  Court 
of  Palms. 


[72] 


PALACE  OF  VARIED  INDUSTRIES 
MAIN  PORTAL 

The  central  portal  on  the  south  facade  of 
the  Palace  of  Varied  Industries  is  by  many 
considered  the  finest  doorway  at  the  Expo- 
sition. It  is  a  copy  of  the  Hospital  of  Santa 
Cruz  at  Toledo,  done  in  the  Spanish  Renais- 
sance, of  a  style  known  as  the  plateresque. 
The  rich  appearance  has  the  effect  of  being 
exquisitely  chiselled  with  scroll-like  finish, 
reminding  one  of  the  workmanship  of  a 
silversmith. 

The  sculptured  ornamentations  of  the  portal 
are  the  work  of  Ralph  Stackpole.  He  is 
most  fortunate  in  his  treatment  of  the  in- 
dustrial types.  The  relief  panel  in  the 
tympanum  represents  the  industries  of 
Spinning,  Building,  Agriculture,  Manual 
Labor  and  Commerce. 

"The  Man  with  the  Pick,"  seen  on  the  side 

brackets,  is  a  freely  modeled  statue,   also 

appearing  upon  the  portal  of  the  Palace  of 

Manufactures.     The  keystone  figure  typifies 

the  Laborer,  who  is  capable  of  relying  on  his 

brain.  The  upper  group  represents  Age 

transferring  his  burden  to  Youth. 


[74] 


AVENUE  OF  PALMS 
THE  SOUTH  FACADE  BY  NIGHT 


Facing  the  Avenue  of  Palms  is  the  stupend- 
ous wall  formed  by  the  Palaces  of  Varied 
Industries,  Manufactures,  Liberal  Arts  and 
Education.  This  long  and  imposing  bul- 
wark is  over-topped  by  the  great  Tower  of 
Jewels  and  the  two  pair  of  Italian  Towers. 
The  walls  of  the  palaces,  ivory-tinted  and 
shadowed  by  palms,  eucalypti  and  myriad 
shrubs,  assume  a  new  and  more  wonderful 
aspect  under  the  batteries  of  the  search- 
lights. The  towers  stand  out  against  the 
night  sky,  glowing  with  the  hidden  lights 
like  living  coals,  changing  to  pastel  tints  of 
blue  and  green,  most  beautiful  of  all  when 
the  reflectors  convert  them  into  shafts  of 
white.  The  lamps  along  the  Avenue  punctu- 
ate the  dark  masses  of  foliage,  and  the  con- 
trasting high  lights  on  towers  and  domes 
make  an  artificial  illumination  that  for 
sheer  beauty  has  never  been  equalled. 


[76] 


AVENUE  OF  PROGRESS 
THE  FINE  VISTA  TO  THE  MARINA 

Spaciousness  characterizes  the  Avenue  of 
Progress,  not  only  in  its  breadth  but  in  its 
sweeping  length.  From  the  Fillmore  Street 
entrance,  which  opens  directly  upon  the 
Avenue,  it  appears  to  extend  across  the  bay 
and  on  to  the  hills  beyond.  The  Service 
Building  is  upon  the  left  and  from  the 
opposite  side  comes  the  fanfare  of  the  "Joy 
Zone."  The  Palace  of  Machinery  is  on  the 
eastern  side  of  the  Avenue,  and  on  the  west 
are  the  Palaces  of  Varied  Industries  and 
Mines. 

The  landscape  gardening  is  here  most  suc- 
cessfully carried  out.  Dracena  indivisa,  a 
species  of  palm,  are  planted  at  short  inter- 
vals throughout  the  length  of  the  boulevard. 
Against  the  dull  buff  of  the  palace  walls 
are  banked  Monterey  cypress  and  Lawson 
cypress,  with  a  heavy  under-growth  of  fir 
and  spruce.  The  attractive  lawns  add  a 
touch  of  formality  to  the  impressive  Avenue. 
Whatever  effect  of  newness  might  have 
appeared  in  the  walls  of  the  great  palaces  is 
mellowed  by  Guerin's  colors  and  there  is  a 
splendid  atmosphere  of  enduring  solidity, 
softened  by  the  picturesque  gardens. 


[78] 


MACHINERY  HALL 
THE  CENTRAL  ARCH  IN  THE  PORTAL 

The  Palace  of  Machinery  extends  for  nearly 
one  thousand  feet  along  the  Avenue  of  Prog- 
ress. Its  main  entrance,  facing  the  west, 
is  composed  of  three  splendid  arches,  set  off 
by  free-standing  columns,  which  resemble 
weather-stained  shafts  of  Sienna  marble  and 
are  the  pedestals  for  the  sculptured  figures 
representing  the  powers  of  "Invention," 
"Electricity,"  "Imagination"  and  "Steam." 
On  the  inner  facade  of  the  arches  are  grills 
of  amber  glass,  forming  a  strong  background 
for  the  decorative  friezes  and  sculptured 
eagles,  the  latter  being  symbols  which  pre- 
dominate throughout  the  Exposition.  Dwarf 
cedars  serve  to  magnify,  by  comparison,  the 
gigantic  dimensions  of  this  entrance.  Daniel 
Chester  French's  commanding  statue,  "The 
Genius  of  Creation,"  occupies  a  promi- 
nent place  before  the  central  arch. 


[80 


MACHINERY  HALL 
THE  COLONNADE  IN  THE  PORTAL 

The  dimensions  of  the  main  entrance  to 
Machinery  Hall  are  in  keeping  with  the  size 
of  the  building,  which  is  the  largest  wooden 
framed  structure  in  the  world.  Architectur- 
ally the  style  is  after  the  ancient  Roman, 
the  motif  being  supplied  by  studies  of  the 
baths  of  Caracalla.  The  decorative  designs 
in  the  vestibule  are  sculptured  figures  and 
accompanying  insignia  typifying  the  manu- 
facture and  use  of  machinery  by  man.  The 
relief  figures  of  the  spandrels  are  forcefully 
executed.  About  the  base  of  the  pillars  are 
friezes,  symbolic  of  mechanical  invention. 
These  relief  designs  are  the  work  of  Haig 
Patigian  of  San  Francisco. 
This  great  archway  is  one  of  the  most  inter- 
esting achievements,  from  an  architectural 
standpoint,  to  be  found  at  the  Exposition. 
The  space  covered  is  large,  yet  so  cleverly 
handled  that  no  bareness  is  suggested.  The 
coloring  within  the  vestibule  is  in  shades  of 
blue,  and  the  massive  pillars  supporting 
the  three  arches  are  toned  in 
rich  terra  cotta. 


[82] 


MACHINERY  HALL 
ONE  OF  THE  MINOR  ENTRANCES 

Flanked  by  Corinthian  columns  which  re- 
flect, in  smaller  size,  the  great  pillars  of  the 
main  entrance,  four  minor  doorways  break 
the  long  western  wall  of  the  Palace  of 
Machinery  on  either  side  of  the  central 
entrance,  the  architectural  and  sculptural 
design  in  them  being  similar  to  that  of  the 
main  portal.  The  frieze  in  low  relief,  en- 
circling the  bases  of  the  columns  and  repre- 
senting the  genii  of  mechanics,  is  repeated 
from  the  larger  entrance,  as  are  also  the 
figures  in  the  spandrels,  typifying  the 
application  of  power  to  machinery. 
The  color  treatment  of  these  doorways  is 
especially  brilliant.  The  Corinthian  col- 
umns simulate  Sienna  marble.  The  back- 
ground in  the  spandrels  is  stained  a  rich 
orange.  The  shell  canopy,  as  in  other 
panels  where  it  is  used  throughout  the  Expo- 
sition, is  in  cerulean  blue,  the  wall  space 
beneath  it  is  a  deep  pink,  while  the  door  is 
the  customary  green. 

The  landscape  planting  along  the  entire  wall 
is  superb.     Against  the  ivory-tinted  back- 
ground, various  species  of  evergreens  are 
grouped  with  consummate  skill. 


[84] 


PALACE  OF  MINES 
A  LAMP  NICHE  IN  THE  COURT 

The  Court  of  Mines,  opening  directly  across 
from  the  main  portal  of  Machinery  Hall,  is 
the  entrance  to  the  inner  courts  from  the 
Avenue  of  Progress.  The  effective  massing 
of  the  shrubbery  is  enlivened  by  the  gay 
banners  and  streamers,  designed  by  Jules 
Guerin,  which  are  one  of  the  most  stimulat- 
ing decorative  features  of  the  Exposition. 
The  walls  on  either  side  are  broken  by  the 
entrance  portals  to  the  buildings,  done  in 
Italian  Renaissance  style.  Their  distinc- 
tive features  are  the  niches  on  either  side  of 
the  entrances,  in  which  are  placed  vigorous 
figures,  designed  by  Albert  Weinert,  and  the 
ornamental  lamps  below.  The  court  is 
illuminated  at  night  by  concealed  light 
thrown  on  the  walls  from  reflectors  in  the 
forms  of  interesting  green  shells  resting 
on  shapely  standards. 


86] 


COURT  OF  AGES 
THE  TOWER  BY  NIGHT  ILLUMINATION 

The  Court  of  Ages  was  designed  by  Louis 
Christian  Mullgardt  of  San  Francisco.  Of 
all  the  Exposition  courts  it  is  the  most 
original  and  imaginative  in  conception,  the 
most  complete  in  its  organic,  structural 
unity,  the  richest  in  ornament,  in  poetic 
suggestion,  in  the  depth  and  dramatic  appeal 
of  its  symbolism. 

The  Court  suggests  many  architectural 
periods  and  types,  yet  eludes  classification 
under  any  one  of  them.  The  Gothic  clearly 
predominates,  with  traces  of  English,  Span- 
ish, and  Portuguese  elements.  With  further 
hint  of  Romanesque,  of  Moorish  and  of 
French  influence,  these  varying  elements 
have  been  so  fused  in  the  imagination  of  the 
architect  that  the  resultant  creation  is  inde- 
pendent of  all  of  them  in  its  daring,  yet 
restrained,  originality.  In  the  magnificent 
square  tower  at  the  center  of  its  northern 
end,  all  the  beauty  and  spiritual  import  of 
the  Court  culminate.  Its  aspiring  length  of 
line,  unbroken  from  base  to  summit,  gives 
poise  and  uplift,  the  broad,  plain  surfaces 
give  nobility  and  strength  and  the  exquisite 
richness  and  delicacy  of  the  ornament  give 
lightness  and  grace,  while  the  sculpture 
blends  and  crowns  the  deep  pervading 
symbolism  of  the  Court. 


[88] 


COURT  OF  AGES 
THE  FOUNTAIN  OF  EARTH 

While  it  is  possible  to  find  keen  enjoyment 
in  the  Court  of  Ages  for  its  delicate  beauty 
and  exquisite  refinement  alone,  even  the 
slightest  study  of  its  architectural  and 
sculptural  detail  reveals  a  depth  of  under- 
lying purpose  and  meaning  that  invites 
further  analysis.  The  architect  calls  it  "an 
historical  expression  of  the  successive  ages 
of  the  world's  growth."  He  suggests  four 
stages:  the  nebulous  world,  symbolized  by 
the  central  fountain,  in  which  Robert  Aitken 
of  San  Francisco  has  worked  out  a  stupend- 
ous study  of  primeval  passions.  Out  of 
chaos,  come  the  elemental  forces,  Water, 
Land  and  Light.  The  braziers  and  caul- 
drons symbolize  Fire.  The  two  sentinel 
columns,  flanking  the  tower  on  either  side, 
are  Earth  and  Air.  The  eight  paintings  by 
Frank  Brangwyn  of  London,  in  the  corridors, 
in  great  richness  of  color  depict  Earth,  Air, 
Fire  and  Water.  Thus  the  first  state  is 
indicated. 

The    second    stage   is    symbolized    by   the 

decorative  motifs  employed  on  the  arcade 

surrounding    the    court,    where    on    piers, 

arches,  reeds  and  columns,  in  marvelously 

wrought  sculptural  ornament,  is  shown  the 

transition  from  plant  to  animal  life  through 

kelp,    crab,    lobster    and   other   sea 

animals  and  shell  motifs. 


[90] 


COURT  OF  AGES 
THE  GARDEN  OF  HYACINTHS 

Following  the  symbolism  of  the  Court  of 
Ages  through  the  first  nebulous  period  of 
the  world's  growth,  through  the  second, 
which  shows  the  transition  in  successive 
forms  of  sea-plant  life,  the  third  period  is 
reached  where  are  illustrated  the  earliest 
forms  of  human,  animal,  reptile  and  bird 
life  prevailing  in  the  stone  age.  This  age  is 
indicated,  in  the  court,  by  the  prehistoric 
figures  surmounting  the  piers  of  the  arcade 
and  by  the  first  sculptured  group  over  the 
entrance  to  the  tower.  The  repeated  arcade 
figures,  which  were  designed  by  Albert 
Weinert,  represent  alternately  Primitive 
Man  and  Primitive  Woman. 
The  perfection  of  the  landscape  planting  and 
the  skill  with  which  it  subtly  accentuates 
the  meaning  of  architecture  and  sculpture 
are  worthy  of  study.  In  the  background, 
close  against  the  piers  of  the  arcade,  tall, 
slender  Italian  cypresses  emphasize  their 
rhythmic  length  of  line.  Amid  a  growth  of 
tropical  luxuriance  stand  glossy-leaved 
orange  trees  laden  with  fragrant  blossoms 
and  golden  fruit.  Balled  acacias  in  formal 
rows  outline  the  paths,  while  a  succession  of 
plantings  has  given  a  varying  color  scheme 
and  a  new  perfume  to  each  season. 


[92] 


COURT  OF  AGES 
A  GLIMPSE  FROM  THE  COLONNADE 

The  Court  of  Ages  is  the  only  one  of  the 
Exposition  courts  which  is  entirely  inde- 
pendent of  outside  influences.  The  other 
courts  derive  breadth  of  appeal  from  the  fine 
vistas  through  arched  gateways  or  along 
dignified  colonnades.  The  Court  of  Ages 
is  shut  in  upon  itself  by  the  arcaded  and 
vaulted  ambulatory  which  extends  continu- 
ously around  its  four  sides,  and  by  this 
cloistered  effect,  its  individual  impression 
is  deepened  and  intensified. 
Through  the  lovely  rounded  arches  of  this 
encircling  colonnade,  which  is  elevated  a  few 
feet,  one  looks  down  into  the  beauty  of  the 
court,  or  out  across  it  to  the  richly  fretted 
walls.  In  the  curve  of  each  arch,  hang 
two  delicately  modeled  lanterns. 


[94] 


COURT  OF  AGES 
A  VISTA  IN  THE  COLONNADE 

The  cloistered  effect  of  the  long  colonnade 
surrounding  the  four  sides  of  the  Court  of 
the  Ages  is  deepened  by  the  vaulted  ceiling, 
which,  in  its  Roman  simplicity  of  line,  con- 
trasts effectively  with  the  filigreed  exterior 
of  the  arcade. 

The  only  color  in  the  court,  aside  from  a 
slight  use  in  the  tower  and  the  massed  luxuri- 
ance of  flowers,  is  found  in  the  corridors 
where,  between  the  square  pilasters,  the 
prevailing  old  ivory  is  stained  pink  of  a 
deeper  tone  than  in  the  other  courts.  The 
ivory  pilasters  are  carried  up  into  the  ceiling 
in  curving,  transverse  arches,  while  the  band 
of  blue,  following  their  edges,  leads  to  the 
rich  blue  depths  between  them.  At  the  far 
end  of  every  vista  glows  the  riot  of  color  in 
the  superb  murals  by  Frank  Brangwyn. 
The  play  of  sunlight  through  the  succession 
of  rounded  arches  increases  the  sense 
of  bright  charm. 


[96 


COURT  OF  AGES 
THE  TOWER  THROUGH  NORTH  AISLE 

In  the  North  Court  of  Ages,  leading  to 
the  Esplanade,  the  tower  is  identical  with 
the  main  court,  and  the  entire  architectural 
treatment,  while  simpler,  is  in  the  same 
spirit.  Robbed  of  the  complex  symbolism 
by  which,  in  the  larger  court,  the  evolution 
of  the  lower  forms  of  life  is  depicted,  the 
higher  spiritual  lesson  is  here  intensified. 
The  sculptured  groups  in  the  tower,  by 
Chester  A.  Beach  of  San  Francisco,  repre- 
sent the  rise  of  humanity  through  successive 
ages  of  civilization.  The  conventionalized 
lily  petals  decorating  the  summit  of  the 
tower  suggest  the  highest  forms  of  plant  life. 
The  delicate  lace-like  finials,  rising  from  the 
highest  points  of  court  and  tower  alike, 
express  aspiration.  The  chanticleers  on  the 
finials  surrounding  the  court  symbolize  the 
dawn  of  Christianity. 

The  star-like  clusters  of  lights,  raised  aloft, 
two  in  the  main  court  and  four  in  the  north 
court,  deepen  the  ecclesiastical  atmosphere 
by  suggesting  the  golden  monstrance   em- 
blematic of  the  rays  of  the  sun  and  of  the 
radiating  presence  of  God,  and  used  in  the 
,      Catholic  Church  as  a  receptacle  for 
the  sacred  host. 


[98 


FLORENTINE  COURT 
PALACE  OF  TRANSPORTATION 

The  Florentine  Court  and  the  Venetian 
Court  lie  east  and  west  respectively  of  the 
Court  of  the  Universe.  They  are  some- 
times called  the  Aisles  of  the  Rising  and  the 
Setting  Sun.  While  in  reality  only  con- 
necting avenues,  the  wealth  of  careful  detail 
lavished  upon  them  makes  of  them  charm- 
ing interludes  between  the  larger  and  more 
imposing  courts,  and  yet  so  skilfully  do  they 
conform  to  the  general  plan  that  they  blend 
one  larger  court  with  another,  without  ex- 
pressing a  distinct  individuality  of  their  own. 
They  were  planned  by  W.  B.  Faville  of  San 
Francisco.  While  identical  in  design  upon 
three  sides,  their  adaptation  upon  the  fourth 
side  to  the  courts  which  they  adjoin,  east 
and  west,  and  the  variety  in  landscape 
effects,  insure  against  exact  duplication. 
The  Florentine  Court  lies  between  the  Court 
of  Ages  and  the  Court  of  the  Universe, 
with  the  Palace  of  Transportation  bounding 
it  on  the  north  and  the  Palace  of  Manu- 
factures on  the  south.  Its  eastern  wall  re- 
peats the  rich  decorative  treatment  of 
the  Court  of  Ages,  which  it  joins. 


[100 


COURT  OF  THE  UNIVERSE 
THROUGH  THREE  GREAT  ARCHES 

When  one  stands  in  the  Court  of  the  Four 
Seasons,  facing  east,  two  splendid  arches 
are  seen  framed  by  the  Eastern  Gateway  of 
the  Court.  The  first,  across  the  Venetian 
Court,  is  the  Arch  of  the  Setting  Sun,  sur- 
mounted by  its  symbolic  group  of  the 
Nations  of  the  West.  Across  the  vast  Court 
of  the  Universe,  beyond  the  Fountains  of 
the  Rising  and  the  Setting  Sun,  is  the  tri- 
umphal Arch  of  the  Rising  Sun  surmounted 
by  its  symbolic  group  of  the  Nations  of  the 
East. 

These  magnificent  modern  expressions  of  the 
arches  erected  by  the  old  Romans  to  com- 
memorate their  triumphs  were  designed  by 
McKim,  Mead  and  White,  the  architects  of 
the  Court  of  the  Universe,  and  are  richly 
adorned  with  sculpture  designed  by  various 
artists.  In  the  attics  are  carved  appropriate 
inscriptions  selected  by  Porter  Garnett, 
which  will  be  found  on  succeeding  pages. 
There  is  an  atmosphere  of  bigness  about  the 
Court  of  the  Universe,  created  not  only  by 
the  architectural  features,  but  by  the  sym- 
bolism of  the  final  meeting  of  the  Nations  of 
the  World,  made  possible  by  the  com- 
pletion of  the  Panama  Canal. 


[102] 


COURT  OF  THE  UNIVERSE 
TRIUMPHAL  ARCH,  THE  SETTING  SUN 

The  magnificent  mass  of  the  Western  Arch 
is  heightened  at  night  by  the  effective 
illumination.  Shafts  of  white  light  from 
concealed  projectors  pick  out  the  sculptured 
group  that  surmounts  it.  The  bulk  of  the 
arch  catches  only  the  rays  from  minor  lamps 
within  the  court  and  upon  this  shadowy 
pedestal,  the  group  of  the  Nations  of  the 
West  stands  out  in  strong  relief.  Below, 
the  ceilings  of  the  arch  and  corridors  are 
brilliant  from  concealed  lights 
placed  within  them. 


[104] 


COURT  OF  THE  UNIVERSE 
TRIUMPHAL  ARCH,  THE  RISING  SUN 

The  triumphal  arches  which  by  night  gain 
in  majesty  and  mysterious  power,  by  day 
have  the  added  beauty  of  the  color  manipu- 
lation and  decorative  treatment,  which  is 
exceedingly  rich  and  varied. 
The  twisted  columns  of  Sienna  marble  which 
flank  the  arch,  two  on  either  side,  are  com- 
posite, mingling  Corinthian  and  Ionic  ele- 
ments. Each  column  is  crowned  with  a 
sculptured  figure,  representing  the  "Angel 
of  Peace"  by  Leo  Lentelli.  Between  the 
columns,  set  in  a  square  of  deep  pink,  is  a 
burnt  orange  medallion,  the  figures  in  relief, 
suggesting  Nature  and  Art,  being  designed 
by  A.  Stirling  Calder  and  B.  Bufano. 
On  either  side  of  the  curve  of  the  arch, 
latticed  windows  in  green  give  a  Moorish 
touch.  The  figures  in  the  spandrels,  repre- 
senting Pegasus  are  by  Frederick  G.  R. 
Roth.  A  frieze  in  relief,  bands  the  arch  be- 
neath the  inscription,  while  Cleopatra's 
needle,  four  times  repeated,  gives  height  and 
classic  emphasis  to  the  crenellated  parapet 
out-lining  the  summit.  The  sculptured  groups 
"The  Nations  of  the  East"  and  "The 
Nations  of  the  West"  are  the  joint  work  of 
A.  Stirling  Calder,  Frederick  G.  R. 
Roth  and  Leo  Lentelli. 


[106 


iti 


COURT  OF  THE  UNIVERSE 
FOUNTAIN  OF  THE  RISING  SUN 

In  the  eastern  portion  of  the  sunken  garden 
is  the  Fountain  of  the  Rising  Sun.  The  tall, 
slender  shaft,  a  column  of  travertine  by  day 
and  a  column  of  light  by  night,  supports  a 
sphere  upon  which  is  poised  a  statue  typify- 
ing the  dawn  of  day.  Adolph  A.  Weinman 
is  the  sculptor  of  this  "Rising  Sun"  which  is 
so  deservedly  popular  on  account  of  the 
irresistible  appeal  of  the  youthful  figure. 
Everything  about  the  fountain  is  indicative 
of  the  vigor  of  youth,  the  energy  associated 
with  the  rising  of  the  sun.  The  frieze  about 
the  base  represents  the  triumph  of  light  over 
darkness,  and  the  merry  play  of  waters 
suggests  perpetual  activity.  The  concrete 
bowl  is  of  goodly  proportions  and  within  the 
pool  are  sculptured  figures  representing 
mythical  creatures  of  the  ocean. 
Bordering  the  fountain  are  gardens,  at  first 
ablaze  with  rhododendrons,  then  massed 
with  the  pink  blooms  of  hydrangeas,  and 
later  bright  with  the  flowers  of  each 
successive  season. 


[108] 


COURT  OF  THE  UNIVERSE 
FOUNTAIN  OF  THE  SETTING  SUN 

Quite  as  lovely  in  every  detail  as  the  pre- 
ceding is  the  Fountain  of  the  Setting  Sun. 
It  is  in  the  opposite  portion  of  the  sunken 
garden  where,  when  the  sun  is  in  its  descent, 
it  is  shadowed  by  the  Triumphal  Arch  of  the 
Nations  of  the  West. 

Crowning  the  pillar  is  the  figure  of  a  maid, 
her  drooping  wings  and  languorous  pose  de- 
noting relaxation,  a  suspension  of  the  day's 
toil.  This  statue  was  also  modeled  by 
Adolph  A.  Weinman.  The  supporting  shaft 
conveys  an  impression  of  buoyancy  and 
there  are  friezes  above  and  below  the  bowl 
of  the  fountain  similar  to  those  of  the  Rising 
Sun.  At  night  the  columns  which  support 
these  figures  are  aglow  with  concealed  lights, 
and  the  beauty  of  the  fountain 
is  wonderfully  enhanced. 


[110] 


COURT  OF  THE  UNIVERSE 
THE  FOUNTAIN  POOL  AND  TOWER 


The  inscriptions  on  the  two  Triumphal 
Arches  in  the  Court  of  the  Universe  are 
drawn  respectively  from  Occidental  and 
Oriental  literature.  It  was  designed  that 
the  large  central  panels  possess  a  cosmical, 
an  epical,  or  an  elemental  quality,  and  that 
the  smaller  panels  on  either  side  deal  with 
abstractions,  such  as  truth,  nature  or  beauty. 
In  accordance  with  this  plan,  the  inscrip- 
tions on  the  Arch  of  the  Setting  Sun  facing 
away  from  the  court  are  as  follows: 
The  panel  at  the  left  of  the  attic,  represent- 
ing Italy,  reads 

The  world  is  in  its  most  excellent  state  when 
Justice  is  supreme. — Dante. 
The  panel  in  the  center  of  the  attic,  repre- 
senting Germany,  is  inscribed 
//  is  absolutely  indispensable  for  the  United 
States  to  effect  a  passage  from  the  Mexican 
Gulf  to  the  Pacific  Ocean;  and  I  am  certain 
that  they  will  do  it.     Would  that  I  might  live 
to  see  it — but  I  shall  not. — Goethe. 
The  panel  at  the  right  of  the  attic,  repre- 
senting France,  reads 

The  Universe,  an  infinite  sphere,  the  center 
everywhere,  the  circumference,  nowhere. — 
Pascal. 


112 


COURT  OF  THE  UNIVERSE 
CORINTHIAN  COLONNADE  W  GARDENS 

The  inscriptions  on  the  Arch  of  the  Setting 
Sun,  facing  the  Court,  are  as  follows : 
The  panel  at  the  left  of  the  attic,  represent- 
ing England,  reads 

In  nature's  infinite  book  of  secrecy  a  little  I 
can  read, — Shakespeare. 
The  panel  in  the  center  of  the  attic,  repre- 
senting America,  reads 
Facing  west  from  California's  shores, 
Inquiring,  tireless,  seeking  what  is  yet  unfound, 
I,  a  child,  very  old,  over  waves 
Towards  the  house  of  maternity, 
The  land  of  migrations,  look  afar, 
Look  off  the  shores  of  my  western  sea, 
The  circle  almost  circled. 

— Whitman. 

The  panel  at  the  right  of  the  attic,  repre- 
senting Spain,  is  inscribed 
Truth,  witness  of  the  -past,  councillor  of  the 
present,  guide  of  the  future. — Cervantes. 


[114 


COURT  OF  THE  UNIVERSE 
IN  THE  PROMENADE  BY  NIGHT 

The  inscriptions  on  the  Arch  of  the  Rising 
Sun,  facing  the  Court,  are  as  follows : 
The  panel  at  the  left  of  the  attic,  represent- 
ing China,  is  inscribed 

They  who  know  the  truth  are  not  equal  to  those 
who  love  it. — Confucius. 
The  panel  in  the  center  of  the  attic,  repre- 
senting India,  reads 
The  moon  sinks  yonder  in  the  west, 
While,  in  the  east,  the  glorious  sun 
Behind  the  herald  dawn  appears. 
Thus  rise  and  set  in  constant  change  those 

shining  orbs 

And  regulate  the  very  life  of  this  our  world. 
— Kalidasa. 

The  panel  at  the  right  of  the  attic,  repre- 
senting Japan,  reads 

Our  eyes  and  hearts  uplifted,  seem  to  gaze  on 
heaven  s  radiance. — Hitomaro. 


[116 


COURT  OF  THE  UNIVERSE 
A  NICHE  AND  URN  BY  NIGHT 

The  inscriptions  on  the  Arch  of.  the  Rising 
Sun,  facing  away  from  the  Court,  are  as 
follows : 

The  panel  at  the  left  of  the  attic,  represent- 
ing Arabia,  reads 

He  that  honors  not  himself  lacks  honor  where- 
soe'er  he  goes. — Zuhayr. 
The  panel  in  the  center  of  the  attic,  repre- 
senting Persia,  is  inscribed 
The  balmy  air  diffuses  health  and  fragrance, 
So  tempered  is  the  genial  glow  that  we  know 

neither  heat  nor  cold. 
Tulips  and  hyacinths  abound. 
Fostered  by  a  delicious  clime,  the  earth  blooms 

like  a  garden. — Firdausi. 
The  panel  at  the  right  of  the  attic,  repre- 
senting Spain,  reads 

A  wise  man  teaches,  be  not  angry;  from  untrod- 
den ways  turn  aside. — Phra  Ruang. 


118] 


PALACE  OF  TRANSPORTATION 
IN  THE  CORINTHIAN  COLONNADE 

This  promenade,  formed  by  the  vast  portico 
of  the  Palace  of  Agriculture,  is  in  harmony 
with  the  architectural  scheme  of  the  Court 
of  the  Universe.  It  is  the  eastern  wall  of 
the  aisle  leading  from  the  the  main  court  to 
the  Column  of  Progress. 
The  shafts  of  the  pillars  are  fluted  and 
capped  after  the  Corinthian  order.  Terra 
cotta,  mellow  in  tone,  is  the  color  which  has 
been  used  upon  the  travertine  material  of  the 
columns,  and  the  walls  flanking  the  majestic 
array  of  pillars  are  painted  a  warm  pink. 
The  height  of  the  ceiling  is  intensified  by  its 
deep  blue,  which  seems  to  blend  with  the 
azure  of  the  sky,  as  one  glimpses  it  through 
the  far  opening  of  the  corridor.  Masked 
lanterns  adorn  the  arched  ceiling;  on  the  col- 
umns are  shell-screened  lamps  and  at  night 
the  sweep  of  the  promenade  is  magnified 
by  the  indirect  lighting  effects. 


[120] 


VENETIAN  COURT 
PALACE  OF  AGRICULTURE 

The  great  triumphal  arches  of  the  Central 
Court  dominate  the  connecting  aisles  on 
either  side,  the  Arch  of  the  Rising  Sun  form- 
ing the  west  side  of  the  Florentine  Court  and 
the  Arch  of  the  Setting  Sun  the  east  side  of 
the  Venetian  Court.  All  the  splendor  and 
dignity  of  architectural  treatment  and  decor- 
ative ornament  that  enrich  the  arches  as 
they  face  toward  the  Court  of  the  Universe 
are  repeated  on  the  reverse  sides. 
The  treatment  of  the  side  walls  in  the  Flor- 
entine and  Venetian  Courts  is  identical,  dis- 
playing some  of  the  most  delightful  features 
of  the  Italian  Renaissance,  with  marked 
richness  in  the  use  of  both  color  and  orna- 
ment. The  walls  are  covered  with  a  diaper 
pattern  in  pink  and  warm  ivory.  Bright 
blue  and  deep  orange  stain  the  overhanging 
cornice.  The  great  windows  are  latticed 
and  bound  with  green,  the  keystone  of  their 
arches  being  a  quaint  figure  with  folded 
wings.  Between  the  arches  are  inset  blue 
Italian  medallions.  Between  the  windows 
are  coupled  Corinthian  columns,  their  shafts 
richly  overlaid  with  ornament  after  patterns 
suggested  by  the  churches  and  palaces  of 
southern  Italy.  The  planting  is  profuse, 
with  masses  of  green  against  the  walls  and 
a  wealth  of  bloom,  pink  predominating 
in  the  Florentine  Court  and  yellow 
in  the  Venetian. 


[122] 


COURT  OF  THE  FOUR  SEASONS 
THE  NIGHT  ILLUMINATION 

The  Court  of  the  Four  Seasons  is  the  most 
restful,  the  most  intimate  and  the  most 
harmonious  of  the  three  main  courts,  an 
effect  produced  by  its  classic  simplicity  and 
the  charm  of  its  architecture,  sculpture  and 
planting. 

The  long  approach  of  the  north  court,  which 
is  entered  from  the  Esplanade,  is  bordered 
by  the  stately  colonnades  of  the  Palace  of 
Agriculture  on  the  east  and  the  Palace  of 
Food  Products  on  the  west.  The  columns 
are  Ionic,  the  decorative  treatment  of  their 
capitals,  and  of  the  freize  above,  being  in 
fruits  and  grains,  happily  conventionalized. 
The  green  sward  of  the  avenue  is  set,  here 
and  there,  with  fine  yew  trees,  while  tall, 
slim  eucalypti  flank  the  entrance  to  the 
Court. 

The  Fountain  of  Ceres  designed  by  Evelyn 
Beatrice  Longman,  by  the  poise  of  its  crown- 
ing figure  and  by  the  grace  and  dignity  of 
its  entire  outline,  no  less  than  by  its  classic 
conception  and  fine  architectural  feeling, 
enhances  the  chaste  beauty  of  the  long  vista 
whether  seen  by  day  outlined  against  the 
misty  bay  and  the  sweep  of  hills  beyond,  or 
by  night,  silhouetted  against  the  white  rays 
of  the  scintillators  which  are  placed  on 
the  harbor's  edge. 


[124] 


COURT  OF  THE  FOUR  SEASONS 
THE  GREAT  HALF  DOME 

The  theme  of  the  Court,  the  fruitfulness  of 
the  changing  seasons,  is  sympathetically 
rendered  by  architecture,  sculpture  and 
painting  in  happy  combination.  The  decora- 
tive forms  all  employ  agricultural  motives, 
and  the  sculptured  groups  or  figures  and  the 
mural  paintings  are  variations  of  the  same 
thought. 

In  architecture,  the  Court,  which  was  de- 
signed by  Henry  Bacon  of  New  York,  is 
almost  severely  classic,  enriched  in  its  minor 
details  by  touches  of  the  Italian  Renaissance. 
The  Half  Dome,  which  lies  directly  opposite 
the  long  northern  approach,  is  modeled  after 
Hadrian's  villa  near  Rome.  The  decoration 
of  the  vault  of  the  dome  is  influenced  by  the 
richer  coloring  of  the  Court  of  Palms  into 
which  it  opens  on  its  inner  side,  while  the 
archway  softens  into  lighter  tones  in  har- 
mony with  the  more  delicate  coloring  of  the 
Court  of  the  Four  Seasons. 
The  fine  balance  of  line  and  proportion  which 
characterizes  the  Court  is  shown  in  the  three 
sculptured  figures  by  Albert  Jaegers, — "Har- 
vest," the  seated  figure  which  fitly  crowns 
the  half-dome,  blending  finely  with  its 
nobility  and  strength  of  outline,  and  "Rain" 
and  "Sunshine,"  which  surmount  the  splen- 
did columns  of  Sienna  marble  on  either 
side  of  the  dome. 


126 


COURT  OF  THE  FOUR  SEASONS 
THE  WESTERN  ARCHWAY 

The  east  and  west  entrances  to  the  Court  are 
massive  archways,  most  satisfying  in  their 
purity  and  dignity  of  architectural  form 
and  treatment,  as  well  as  in  the  superb  out- 
look which  they  give  on  either  hand.  The 
arches  are  divided  by  Corinthian  pilasters  of 
Sienna  marble.  Within,  their  vaulted  ceil- 
ings are  delicately  colored  and  modeled  in 
faint  relief  after  ancient  classic  designs,  sug- 
gesting harvest  scenes.  The  spandrels  in 
the  triangles  over  the  curve  of  the  arch  and 
the  four  times  repeated  figures  which  serve 
as  pilasters  in  the  paneled  attic  space  above, 
are  by  August  Jaegers.  All  are  gracefully 
molded  women's  figures,  and  all  alike  are 
emblematic  of  the  richness  of  the  harvest. 
The  signs  of  the  zodiac  letter  the  cornice 
between  the  arches  and  the  attic.  The  in- 
scription above  the  eastern  gateway  is  from 
Spenser's  "Faerie  Queene,"  and  that  over 
the  western  from  "The  Triumph  of  Bo- 
hemia" by  George  Sterling. 
The  serenity  and  intimate  seclusion  of  the 
Court  are  due  perhaps  more  than  to  any 
other  single  feature,  to  the  quiet,  circular 
pool  in  its  center,  shut  in  by  banks  of 
shrubbery  and  bare  of  sculptured 
ornament. 


128] 


COURT  OF  THE  FOUR  SEASONS 
ONE  OF  THE  COLONNADE  MURALS 

The  Court  is  octagonal  in  shape,  by  reason 
of  the  fountains,  screened  by  stately  rows  of 
columns,  which  fill  its  corner  recesses.  These 
corner  fountains  are  distinctly  Roman  in 
inspiration,  the  detail  being  suggested  by 
the  baths  of  Caracalla.  Between  the  double 
rows  of  massive  Ionic  columns  runs  the 
colonnade.  The  capitals  of  the  columns  are 
enriched  by  pendant  ears  of  corn,  sur- 
mounted by  a  single  open  flower.  Above 
the  severely  treated  doorways,  in  each  recess, 
are  two  mural  paintings  by  Milton  Bancroft, 
picturing  alternately  the  seasonal  pleasures 
and  pastimes  and  their  activities  or  in- 
dustries. The  murals,  with  the  two  in  the 
half-dome,  also  by  Milton  Bancroft,  are  all 
conventionally  classic,  in  keeping  with  the 
spirit  and  atmosphere  of  the  Court. 
Within  the  sheltered  niches  are  the  fountains 
of  the  four  seasons,  where  the  water,  rose- 
tinted  by  day  and  a  luminous  green  by  night, 
slips  softly  and  musically  over  three  broad- 
ening semi-circular  terraces  to  the  cool, 
green  pool  beneath.  The  sculptured  groups, 
surmounting  the  terraced  fountains,  are  by 
Furio  Piccirilli  of  New  York.  The  enclos- 
ing walls  are  soft  pink,  the  line  where  they 
join  the  blue  vault  of  the  sky  charmingly 
broken  by  the  living  green  of  luxuriant, 
trailing  vines. 


[130] 


COURT  OF  THE  FOUR  SEASONS 
THE  IONIC  COLUMNS 

Through  the  columns  is  a  glimpse  of  the 
Eastern  Gateway  where,  carved  in  three 
panels  over  the  entrance,  is  the  following 
inscription : 

So  forth  isseto'd  the  seasons  of  the  ye  are, 
First  lusty   spring   all  dight   in   leaves   and 
flowres. 

Then  came  the  jolly  sommer  being  dight 

In  a  thin  cassock  coloured  greene, 

Then  came  the  autumne  all  in  yellow  clad, 

Lastly  came  winter,  cloathed  all  in  frize, 
Chattering  his  teeth,  for  cold  that  did  him  chill. 

— Spenser. 

The  triple  panel  in  the  attic  of  the  Western 
Gateway  reads: 
For  lasting  happiness  we  turn  our  eyes  to  one 

alone, 
And  she  surrounds  you  now. 

Great  nature,  refuge  of  the  weary  heart,  and 
only  balm  to  breasts  that  have  been  bruised. 

She  hath  cool  hands  for  every  fevered  brow 
And  gentlest  silence  for  the  troubled  soul. 

— Sterling. 


132 


COURT  OF  THE  FOUR  SEASONS 
THE  COLONNADE  AND  LAWN 

The  harmonious  impression  of  the  Court  of 
the  Four  Seasons  is  due  largely  to  the  faith- 
fulness with  which  classic  influences  have 
controlled  every  detail,  both  in  architecture 
and  in  ornament.  The  bulls'  heads  between 
festoons  of  flowers  which  decorate  the  base  of 
the  entrances  into  the  north  court,  the  eagles 
at  the  corners  of  the  pylons  above,  and  the 
vases  repeated  on  the  balustrade  about  the 
Court  are  all  Roman  in  design.  Thoroughly 
classic  also  are  the  wreaths  of  fruits  and 
grains  on  the  panel  of  the  cornice  and  the 
lions'  heads  above.  While  "The  Feast  of 
Sacrifice,"  the  superb  groups  by  Albert 
Jaegers,  crowning  the  pylons  at  either  side 
of  the  entrance  to  the  north  court,  recall  the 
ancient  custom  of  celebrating  the  close  of 
harvest  by  the  sacrifice  of  flower-garlanded 
bulls. 

The  planting  of  the  court  is  quiet  and  stately, 
and  notably  carries  out  its  spirit,  with  the 
gray-green  of  foliage  plants  and  eucalyptus 
trees  and  the  gnarled  stems  of  gray  old  olive 
trees.     In  its  vistas  from  any  angle  or  point 
of  view,  the  Court  is  peculiarly  satisfy- 
ing and  beautiful. 


134] 


COURT  OF  THE  FOUR  SEASONS 
THE  NORTH  COLONNADE  BY  NIGHT 

To  stand  in  the  midst  of  this  curving  oc- 
tagonal court  and  hear,  above  the  whisper 
of  the  trees,  the  murmur  of  the  four  hidden 
fountains  that  gush  unseen  from  the  base 
of  allegorical  groups  of  statuary,  glimpsed 
through  colonnades,  is  to  stand  in  Hadrian's 
villa  of  old,  where  we  hear 

"Fitly  the  fountains  of  silver  leap, 
Whose  sound  is  as  soft  as  the  listless  flow 
Of  streams  that  forever  linger  and  go 
Down  delicate,  dream-far  valleys  of  sleep." 

As  in  a  dream,  one  looks  down  the  last  vista 
to  the  open  rotunda  and  crescent  hemicycle 
of  the  Palace  of  Fine  Arts  beyond  a  lagoon 
that  mirrors  them  on  its  surface.  Rising 
from  the  rich,  green  massing  of  shrubbery 
and  mossy  banks,  the  rotunda  lifts  its  proud 
head,  encircled  with  garlands  of  symbolical 
figures,  as  above  a  grove  of  Academe. 
Behind  it  the  soft  red  walls  of  the  palace 
glow  like  the  fading  embers  of  sunset.  These 
courts,  strung  like  a  rope  of  pearls  between 
the  two  poles  of  man's  achievement — 
mechanics  and  art — are  the  heart  of  the 
Exposition,  and  in  them  are  treasures 
of  color  and  form  untold. 

— Edwin  Mark  ham 


136] 


PALACE  OF  FOOD  PRODUCTS 
THE  PORTAL  FROM  THE  GARDENS 

The  north  facade  of  the  Palaces  which  line 
the  Marina  is  bare  almost  to  severity,  ex- 
cept for  the  rich  adornment  of  the  portals, 
the  same  detail  being  repeated  for  each 
palace.  Spanish  models  served  as  the  pat- 
terns for  these  handsome  doorways,  the  three 
fine  arches,  with  their  supporting  columns, 
suggesting  the  earlier  Spanish  Gothic,  while 
the  decorative  features  reflect  the  Moorish 
influence  of  a  later  period. 
The  motif  is  appropriate  for  the  waterfront, 
reminiscent  as  it  is  of  the  epoch  of  the 
Spanish  Main.  This  hint  is  carried  out  in 
the  sculptured  figures  in  the  alcoves  above 
each  arch.  Allen  Newman  modeled  them, 
giving  to  his  work  the  dash  and  daring  of  the 
domineering  conquistadors  and  piratical 
deckhands  of  those  stirring  days.  The 
portal  here  pictured  leads  directly  to  the 
Esplanade  near  the  Gardens  adjoining 
the  California  Building. 


[138 


PALACE  OF  FOOD  PRODUCTS 
A  DETAIL  OF  THE  MAIN  PORTAL 

It  requires  several  visits  to  the  Exposition 
to  become  accustomed  to  the  stupendous 
scale  which  has  been  followed,  not  only  in 
the  expansive  landscape  gardening,  but  in 
the  architectural  plans. 
In  this  illustration,  a  faint  conception  is 
afforded  of  the  proportions  of  the  main  en- 
trance to  the  Palace  of  Food  Products. 
The  doors  themselves  are  of  ample  size,  yet 
are  dwarfed  to  insignificance  by  the  lofty 
columns  and  vaulted  ceiling  of  this  delight- 
ful portal,  which  is  a  reproduction  from  the 
Spanish  Cathedral  of  Salamanca.  The  great 
arches  are  decorated  after  the  plateresque 
style,  and  the  spandrels  abound  in  garlands, 
horns  of  plenty  and  other  goodly  tokens. 
A  Moorish  note  is  detected  in  the  lacy  net- 
work of  the  latticed  windows.  The  domed 
ceilings  are  painted  blue  and  tints  of  pink 
and  dull  orange  are  used  on  the  walls  and 
columns  of  the  portal. 


[140 


1 


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i  m 


w%. 


THE  ESPLANADE 
NORTH  FACADE,  COLUMN  OF  PROGRESS 

The  Esplanade  is  bounded  on  the  north  by 
the  Marina  and  the  sparkling  waters  of  the 
Bay.  The  boundary  line  on  the  south  is 
the  imposing  frontage  formed  by  the  north 
facade  of  the  four  palaces,  broken  by  the 
inviting  entrances  to  the  Court  of  Ages, 
the  Court  of  the  Universe  and  the  Court 
of  the  Four  Seasons. 

The  domes  which  mark  these  entrances  loom 
up  in  fine  proportions,  and  the  entrances  to 
the  various  palaces  are  particularly  well 
done.  Against  the  old  ivory  of  the  massive 
walls  are  clustering  thickets  of  cedar,  spruce, 
eucalyptus  and  clumps  of  low-growing 
shrubs. 

It  is  a  rare  combination — the  view  one  has 

from  the  Esplanade      Across  the  Bay  are 

the    inviting    hills    of   Marin    County    and 

equally  enticing   are   the   vistas   stretching 

through  colonnades  and  arches  formed  by 

the  courts  and  palaces  of  the  Exposition. 

The  Column  of  Progress,  surmounted  by  the 

"Adventurous  Bowman",  holds  the  most 

noticeable  position  on  the  Esplanade. 


142 


NORTH  FACADE 
A  VIEW  FROM  THE  BAY 

The  Esplanade  extends  westward  from  the 
ferry  slip,  along  the  north  facade  of  the  main 
group  of  buildings,  past  the  massive  walls  of 
the  California  building  and  through  the 
States'  section  to  the  Massachusetts  build- 
ing. 

From  the  Bay,  the  dominating  center  of  the 
Esplanade  is  the  splendid  Column  of  Prog- 
ress, on  either  side  of  which  lies  the  Spanish 
wall  of  the  north  facade  broken  only  by  the 
four  magnificent  and  identical  sixteenth- 
century  Renaissance  portals  which  open  into 
the  Palaces  of  Mines,  of  Transportation,  of 
Agriculture  and  of  Food  Products.  From 
the  base  of  the  Column  of  Progress,  the  vista 
stretches  away,  through  the  Forecourt  of 
the  Stars  and  the  Court  of  the  Universe,  to 
the  Tower  of  Jewels,  which  dominates  the 
southern  approach  to  the  grounds.  Against 
the  sky-line  are  outlined  the  lesser  spires  of 
the  Italian  towers,  the  heavy  bulk  of  the 
sculptured  groups  crowning  the  arches  of 
the  Rising  and  the  Setting  Sun,  the  square 
summit  of  the  Tower  of  the  Ages  and 
the  round  domes  of  the  palaces. 


[144 


PALACE  OF  FOOD  PRODUCTS 
A  VIEW  FROM  THE  FINE  ARTS  LACUNA 


The  impression  of  unity  of  design  in  the 
main  group  of  buildings  is  heightened  by 
certain  distinctive  features  which  charac- 
terize all  of  them  in  common.  On  all,  there 
is  the  central  dome,  which,  with  the  repeated 
smaller  domes  on  the  corners,  is  the  chief 
source  of  charm  in  the  pronounced  Oriental 
or  Moorish  effect  when  seen  from  a  distance. 
The  long,  unbroken  lines  and  wall  spaces 
give  a  sense  of  repose  and  restraint  and 
emphasize  the  richness  and  beauty  of  the 
entrances  where  the  decoration  is  massed. 
The  Palace  of  Food  Products  occupies  the 
north-west  corner  of  the  main  group  of 
buildings.  Its  western  exposure  is  Roman  in 
design  to  harmonize  with  the  Palace  of  Fine 
Arts  on  the  opposite  side  of  the  laguna.  Its 
dominant  feature  is  the  great  half-dome, 
officially  called  "The  Half  Dome  of  Physical 
Vigor,"  which  forms  its  west  entrance.  The 
tall  Corinthian  columns  on  either  side  sup- 
port Ralph  Stackpole's  figure  of  "Youth" 
and  crowning  the  smaller  columns  which  line 
the  dome  are  the  repeated  statues  by  Earl 
Cummings,  portraying  "Physical  Vigor," 
from  which  the  dome  takes  its  name. 


146 


PALACE  OF  EDUCATION 
A  VIEW  FROM  THE  FINE  ARTS  LACUNA 

The  western  exposure  of  the  Palace  of  Edu- 
cation duplicates  the  same  wall  of  the  Palace 
of  Food  Products  and  the  entire  facade  along 
the  laguna  is  called  the  Roman  wall,  by 
reason  of  the  thoroughly  classic  spirit  in 
which  it  is  conceived. 

The  half-dome  here,  as  there,  forms  the 
architectural  keystone,  and  in  both  build- 
ings, the  three  niches  on  either  side  hold  the 
same  alternating  figures.  While  the  half- 
dome,  with  its  entire  decorative  treatment, 
belongs  more  fittingly  to  the  Palace  of 
Education,  the  sculptured  figures  in  the 
alcoves,  by  Charles  R.  Harley,  representing 
alternately  "Abundance"  and  "The  Tri- 
umph of  the  Fields,"  are  more  in  keeping 
with  the  Palace  of  Food  Products. 
The  north  face  of  the  Palace  of  Education, 
which  opens  on  the  Court  of  the  Sunset, 
connecting  Administration  Avenue  with  the 
Court  of  the  Four  Seasons,  duplicates  the 
three  Spanish  doorways  of  its  south  facade; 
and  in  harmony  with  these  doorways,  those 
on  the  south  wall  of  the  Palace  of  Food  Prod- 
ucts, which  look  put  upon  the  same 
avenue,  are  similar  in  treatment. 


[148] 


PALACE  OF  EDUCATION 
THE  HALF  DOME  OF  PHILOSOPHY 

The  two  magnificent  Roman  half-domes 
which  give  character  to  the  otherwise  long 
and  bare  wall  space  of  the  western  facade 
are  called  in  the  Palace  of  Food  Products 
"The  Half  Dome  of  Physical  Vigor"  and  in 
the  Palace  of  Education  "The  Half  Dome  of 
Philosophy."  In  dignity  and  nobility,  due 
to  massive  size  and  strength  of  treatment, 
in  beauty  of  modeling  and  restraint  of  decor- 
ation, this  effective  use  of  the  half-dome  is 
one  of  the  finest  architectural  achievements 
on  the  grounds. 

The  fine,  strong  figure  by  Ralph  Stackpole, 
which  surmounts  the  giant  Corinthian  col- 
umns on  either  side  of  the  opening  is  used 
also  at  the  entrance  of  the  Palace  of  Food 
Products  and  here,  as  there,  it  is  called 
"Youth,"  the  repeated  figure  evidently  sig- 
nifying in  the  mind  of  the  artist  the  union 
of  intellectual  and  physical  vigor  which 
exemplifies  the  finest  type  of  manhood.  The 
dome  takes  its  name  from  the  eight  times 
repeated  female  figure,  representing  Educa- 
tion, which  crowns  the  Corinthian 
columns  lining  its  inner  curve. 


150] 


PALACE  OF  EDUCATION 
THE  FOUNTAIN  IN  THE  PORTAL 

The  central  decorative  feature  within  the 
half-domes  which  form  the  western  portals 
of  the  Palaces  of  Education  and  of  Food 
Products  is,  in  each  case,  a  fountain,  archi- 
tectural in  character  and  of  great  dignity  of 
line  and  beauty  of  modeling.  Both  were 
designed  by  W.  B.  Faville  from  old  Italian 
models  found  in  Sienna  and  Ravenna.  Both 
are  circular  in  form  and  built  up  in  successive 
tiers,  the  one  at  the  entrance  to  the  Palace 
of  Education  being  the  simplest  in  con- 
struction and  gaining  more  in  charm  and 
grace  from  the  flow  of  the  water. 
The  interior  treatment  of  the  domes  fur- 
nishes an  effective  background  for  the 
fountains.  The  vault  of  the  ceiling  is  a 
richly  colored  conventionalized  pattern  in 
orange,  pompeiian  red  and  blue.  The  re- 
peated Corinthian  columns  lining  the  curve 
are  of  Sienna  marble.  The  doorways  be- 
tween them,  with  the  Moorish  grill  above 
the  doors,  are  in  green,  while  back  of  the 
lattice  work  is  set  stained  glass 
in  deep  amber. 


[152 


ADMINISTRATION  AVENUE 
THE  FINE  ARTS  LACUNA 

The  Baker  Street  Entrance  to  the  Exposition 
leads  directly  into  Administration  Avenue. 
The  Horticultural  Gardens  first  attract  at- 
tention by  their  kaleidoscopic  patches  of 
blooming  flowers.  Then  the  eye  travels  on 
past  the  Palace  of  Horticulture  to  the  mas- 
sive bulwark  of  the  Palaces  of  Education  and 
Food  Products  in  the  walls  of  which  two 
great  half-domed  portals  form  the  principal 
points  of  interest.  Across  the  way  lies  the 
Lagunawith  its  reflected  image  of  the  Palace 
of  Fine  Arts,  perhaps  the  loveliest  spot  in  the 
Exposition  grounds.  Plants  grow  in  the  pool 
and  the  shores  are  lined  with  iris,  primroses, 
periwinkles,  pampas  grass  and,  overtopping 
these,  weeping  willows  mingled  with  other 
lovely  trees  and  shrubs. 
Towards  the  end  of  the  Avenue  is  the  small 
but  attractive  Hawaiian  pavilion.  The 
tower  of  the  California  building  is  silhouetted 
against  the  background  of  the  Marin  hills. 
Administration  Avenue  receives  its  name 
from  the  fact  that  it  leads  directly  to  the 
administrative  headquarters  of  the  Ex- 
position, located  in  the  California 
building. 


[154] 


PALACE  OF  FINE  ARTS 
THE  ROTUNDA  AND  LACUNA 

The  Palace  of  Fine  Arts  has  the  finest  natural 
setting  on  the  Exposition  grounds.  Con- 
summate skill  in  planning  the  entire  archi- 
tectural ensemble  gave  it  a  commanding 
position  at  the  extreme  west  of  the  group 
of  exhibit  palaces.  The  architect,  Bernard 
R.  Maybeck  of  San  Francisco,  found  as  an 
asset  on  beginning  his  work,  a  small  natural 
lake  and  a  fine  group  of  Monterey  cypress. 
With  this  foundation  he  has  created  a 
temple  of  supreme  loveliness,  thoroughly 
original  in  conception,  yet  classic  in  its 
elemental  simplicity  and  in  its  appeal  to  the 
highest  and  noblest  traditions  of  beauty  and 
art,  revealing  the  imagination  of  a  poet,  the 
fine  sense  of  color  and  harmony  of  an  artist, 
and  the  sure  hand  of  a  master-architect  in 
his  confident  control  of  architectural  forms, 
of  decorative  detail  and  of  the  contributing 
landscape  elements.  The  conception  of  the 
rotunda  is  said  to  have  been  suggested  to 
the  architect  by  Bocklin's  painting  "The 
Island  of  the  Dead"  and  that  of  the  peri- 
style by  Gerome's  "Chariot  Race." 
Across  the  Laguna  from  the  Palace  of  Fine 
Arts  runs  Administration  Avenue  and  the 
magnificent  Roman  wall  which  forms  the 
western  facade  of  the  main 
group  of  palaces. 


[156] 


PALACE  OF  FINE  ARTS 
THE  ROTUNDA  AND  PERISTYLE 

The  Palace  of  Fine  Arts  is,  in  reality,  not 
one  complete  building,  but  four  separate 
and  distinct  elements.  The  rotunda,  an 
octagonal  structure,  forms  the  center  of  the 
composition.  On  either  side  is  a  detached 
peristyle  which  follows  the  curve  of  the  gal- 
lery itself,  as  it  describes  an  arc  about  the 
western  shore  of  the  Laguna,  yet  so  success- 
fully are  they  all  bound  together  by  the 
encircling  green  wall  and  by  the  other  land- 
scape elements,  that  an  impression  of  satis- 
fying unity  results. 

The  architecture,  as  a  whole,  is  early  Roman, 
with  traces  of  the  finer  Greek  influences.  In 
general  treatment,  there  is  a  suggestion  of 
the  Temple  of  the  Sun  at  Athens,  while  much 
of  the  detail  was  inspired  by  the  Choragic 
monument  of  Lysicrates,  also  at  Athens. 
The  rotunda  is  Roman  in  conception,  Greek 
in  decorative  treatment.  By  its  sheer 
nobility  of  form  and  of  proportion,  and  by 
its  enchantment  of  color  and  sculptured 
ornament,  it  dominates  the  entire  landscape. 
The  high  spiritual  quality  of  the  architect's 
conception  culminates  in  the  Shrine  of  In- 
spiration, directly  in  front  of  the  rotunda,  as 
seen  from  across  the  laguna,  where  kneels 
Ralph  Stackpple's  lovely  figure  of  "Art 
Tending  the  Fires  of  Inspiration,"  exquisite 
in  its  simplicity  and  deli- 
cate charm. 


[158 


PALACE  OF  FINE  ARTS 
THE  PERISTYLE  AND  LACUNA 

On  either  side  of  the  central  rotunda  the 
peristyle  of  the  Palace  of  Fine  Arts  encircles 
the  shore  of  the  laguna  in  a  long  semi-circle, 
formed  of  a  row  of  Corinthian  columns  their 
pale  green  simulating  age -stained  marble. 
At  each  extremity  of  the  colonnade  and  at 
intervals  throughout  its  length  are  groups 
of  four  larger  columns,  in  ochre,  each  group 
surmounted  by  a  great  box,  designed  to 
hold  flowers  and  vines.  Panels  simulating 
pale  green,  veined  marble  are  inset  in  these 
receptacles  and  at  their  corners  are  drooping 
women's  figures  by  Ulric  H.  Ellerhusen  rep- 
resenting Contemplation.  Between  the  col- 
umns, at  their  bases,  are  also  set  receptacles 
for  growing  plants. 

In  its  pervading  dignity,  in  the  strength  of 

the  columns,  in  the  rich  beauty  of  the  capi- 

itals  and  in  the  chaste  refinement  of  the 

cornice,  the  colonnade  is  essentially 

Greek. 


[160] 


PALACE  OF  FINE  ARTS 
IN  THE  PERISTYLE  WALK 


Between  the  Palace  of  Fine  Arts  itself  and 
its  bordering  colonnade  of  massive  Corin- 
thian columns  runs  a  broad  promenade 
which,  while  binding  the  two  toge  ther, 
receives  a  sense  of  freedom  and  serenity  from 
the  open  sky  above. 

The  wall  of  the  gallery  is  interrupted  only 
by  the  simple  entrances  at  intervals.  It  is 
low  and  intimate  in  comparison  with  the 
great  proportions  of  the  other  exhibit  palaces 
and  its  height  is  further  broken  by  a  terrace 
midway,  set  with  growing  plants  and  shrubs. 
The  whole  effect  desired  by  the  architect  is 
of  an  ancient  ruin,  overgrown  through  the 
centuries  with  vegetation.  Along  the  edge 
of  the  roof  runs  a  latticed  Pompeiian  pergola, 
hung  with  trailing  vines,  and  the  wall  of  the 
building  is  colored  a  deep  pompeiian  red. 
The  immense  flower  urns,  banded  with 
classic  figures  in  deep  relief,  bearing  heavy 
swinging  garlands,  are  by  Ulric  H.  Eller- 
huesn.  Alternating  with  the  massed  green 
of  shrubs  and  plants  against  the  wall  are 
niches  holding  sculptured  groups.  The 
Roman  urns  which  crown  the  square  pillars 
marking  the  doors  and  which,  in  varying 
size,  are  repeated  here  and  there  about 
the  building,  are  by  William 
G.  Merchant. 


162 


PALACE  OF  FINE  ARTS 
THE  ROTUNDA  FROM  THE  PERISTYLE 

From  any  point  in  the  peristyle  of  the 
Palace  of  Fine  Arts  and  under  any  atmos- 
pheric conditions,  either  by  day  or  by  night, 
the  vistas  are  peculiarly  satisfying  and 
charming.  About  the  columns  of  the  stately 
colonnade  are  blooming  plants  in  simple, 
natural  groups.  And  at  intervals  between 
the  columns  under  the  rotunda  or  along 
either  end  of  the  laguna,  the  outdoor  gallery 
of  sculpture  finds  a  sympathetic  background 
and  setting. 

The  great  dome  of  the  rotunda  which 
crowns  so  many  of  the  vistas,  is  stained  a 
velvety  burnt  orange,  with  a  turquoise  blue- 
green  border.  Beneath,  are  eight  panels  in 
low  relief  by  Bruno  L.  Zimm,  symbolizing 
Greek  culture  and  its  desire  for  poetic  and 
artistic  expression,  conceived  in  a  deeply 
classic  vein  and  executed  with  spirit  and 
grace.  Below  the  panels  is  an  attic  of  pale- 
green  marble. 

Flanking  each  pier  of  the  rotunda  are  two 

Corinthian  columns  in  Sienna  marble,  within 

the    arches    are    corresponding    Corinthian 

pilasters,  and  within  the  dome  against  each 

pier  is  another  massive  Corinthian  column 

in  marble,  each  one  crowned  with  the  serene 

and  noble  "Priestess  of  Culture"  by 

Herbert  Adams  of  New  York. 


164] 


PALACE  OF  FINE  ARTS 
THE  PERISTYLE  WALK  BY  NIGHT 

Of  all  the  wonderful  night  effects  of  the 
Exposition  grounds  none  are  so  full  of  haunt- 
ing beauty  as  the  vistas  afforded  by  the 
Palace  of  Fine  Arts  and  its  surroundings. 
By  the  indirect  system  of  illumination,  an 
effect  as  of  strong  moonlight  is  produced 
and  from  concealed  sources,  under  cornices 
or  behind  columns,  a  soft  reflected  radiance 
pervades  peristyle  and  rotunda.  The  trees, 
shrubs  and  columns  cast  long,  intense 
shadows.  Through  the  columns  may  be 
seen  the  long  line  of  the  Roman  wall  across 
the  laguna,  its  great,  half-domes  suffused 
with  a  mellow,  golden  light  and  in  the  ever- 
changing  waters  between,  it  gleams  again. 
From  the  other  side  of  the  laguna,  the 
rotunda  and  the  long  crescent  of  the  col- 
onnade are  seen  reflected  as  in  a  mirror,  and 
when  flooded  with  the  white  radiance  of  the 
searchlights,  their  majestic  beauty 
is  indescribable. 


166] 


PALACE  OF  FINE  ARTS 
A  FOUNTAIN  IN  THE  LACUNA 

Beautiful  as  the  Palace  of  Fine  Arts  is  from 
any  viewpoint,  its  simplicity  and  noble 
strength  are  at  their  best  when  seen  with  a 
foreground  of  trees  and  water.  The  land- 
scape, in  its  simple  naturalness,  is  in  feeling 
an  intimate  part  of  the  building  itself  and  so 
perfectly  do  they  blend  that  they  seem  to 
have  grown  together  through  quiet,  serene 
centuries. 

Between  the  columns  and  along  the  wall  of 
the  building  are  blooming  plants  and  shrubs, 
groups  of  Monterey  cypress  and  eucalyptus 
trees.  The  shores  of  the  laguna  are  banked 
with  shrubs,  loosely  massed,  and  groups  of 
evergreens  and  weeping  willows  bend  over 
the  lake.  Outlining  its  irregular  border, 
broken  by  small  promontories  and  inlets, 
thousands  of  blooming  plants  creep  down  to 
the  water's  edge  and  venture  out  into  its 
placid  depths — periwinkles,  primroses,  daffo- 
dils, heliotrope,  pampas  grass,  white  and 
yellow  callas,  Spanish  and  Japanese  iris  and 
myriads  of  others  whose  names  and  gay, 
nodding  blossoms  are  more  or  less  familiar. 
Fountains  play  in  the  edge  of  the  lake,  the 
charming  spirited  group  here  illustrated  being 
"Wind  and  Spray"  by  Anna 
Coleman  Ladd. 


[168] 


PALACE  OF  FINE  ARTS 
A  PICTURESQUE  GARDEN  FOUNTAIN 

The  graceful  garden  fountain  shown  is  the 
work  of  Anna  Coleman  Ladd.  It  is  located 
toward  the  north  end  of  the  building  near 
the  entrance  to  the  peristyle.  Of  the  general 
effect  of  the  Palace  of  Fine  Arts  and  of  its 
deeper  meaning,  the  architect,  Bernard  R. 
Maybeck,  says: 

"There  is  a  succession  of  impressions  pro- 
duced as  one  walks  through  the  different 
parts  of  the  grounds  that  play  on  the  feeling 
and  the  mind,  each  part  having  its  own 
peculiar  influence  on  the  sentiment.  Along 
the  main  axis,  for  example,  the  Machinery 
Hall  and  neighborhood  suggest  a  mixture  of 
the  classic  and  romantic,  as  you  understand 
the  terms  in  literature. 

"The  Court  of  Ages  suggests  the  medieval 
with  all  its  rising  power  of  idealism  in  con- 
flict with  the  physical.  The  Court  of  the 
Universe  suggests  Rome,  inhabited  by  some 
unknown  placid  people.  The  Court  of  the 
Four  Seasons  suggests  the  grace,  the  beauty 
and  the  peace  in  the  land  where  the  souls  of 
philosophers  and  poets  dwell. 
"The  Fine  Arts  Palace  suggests  the  romantic 
of  the  period  after  the  classic  Renaissance, 
and  the  keynote  is  one  of  sadness  modified 
by  the  feeling  that  beauty  has  a 
soothing  influence." 


[170 


PALACE  OF  FINE  ARTS 
THE  GARDEN  AND  FOUNTAIN  OF  TIME 

In  the  foreground  of  this  poetic  garden  scene 
is  the  foremost  figure  of  Lorado  Taft's 
"Fountain  of  Time."  In  sympathy  with 
the  atmospheric  influence  of  such  a  vista, 
Bernard  R.  Maybeck,  the  architect,  con- 
tinues the  thought  of  the  preceding  page: 
"To  make  a  Fine  Arts  composition  that  will 
fit  this  modified  melancholy,  we  must  use 
those  forms  in  architecture  and  gardening 
that  will  affect  the  emotions  in  such  a  way 
as  to  produce  on  the  individual  the  same 
modified  sadness  as  the  galleries  do.  Sup- 
pose you  were  to  put  a  Greek  temple  in  the 
middle  of  a  small  mountain  lake  surrounded 
by  dark,  deep  rocky  cliffs,  with  the  white 
foam  dashing  over  the  marble  temple  floor, 
you  would  have  a  sense  of  mysterious  fear 
and  even  terror,  as  of  something  uncanny. 
If  the  same  temple,  pure  and  beautiful  in 
lines  and  color,  were  placed  on  the  face  of  a 
placid  lake,  surrounded  by  high  trees  and 
lit  up  by  a  glorious  full  moon,  you  would 
recall  the  days  when  your  mother  pressed 
you  to  her  bosom  and  your  final  sob  was 
hushed  by  a  protecting  spirit  hovering  over 
you,  warm  and  large.  You  have  there  the 
point  of  transition  from  sadness  to  content, 
which  comes  pretty  near  to  the  total  impres- 
sion that  galleries  have  and  that  the  Fine 
Arts  Palace  and  Lake  are 
supposed  to  have." 


[172 


CALIFORNIA  BUILDING 
BELL  TOWER  AND  FORBIDDEN  GARDEN 

The  California  Building  is  the  result  of  per- 
haps the  most  interesting  combination  of 
requirements  that  could  be  imagined  —  to 
provide  a  host  building  for  the  home  State 
of  a  great  Exposition  where  welcome  could 
warmly  and  generously  be  extended  to  the 
millions  of  visitors,  where  the  officials  could 
have  suitable  quarters  and  where  the  fifty- 
two  counties  of  the  State  could  have  their 
exhibits.  The  location  set  aside  for  the 
concrete  development  of  these  requirements 
was  most  stimulating.  An  edifice  to  termi- 
nate the  vista  looking  north  over  a  laguna 
of  silent  water  flanked  by  the  wonderful 
Palace  of  Fine  Arts,  and  just  beyond,  the 
beautiful  Bay  of  San  Francisco  with  a  back- 
ground formed  by  distant  Tamalpais. 
No  style  of  architecture  could  be  more 
appropriate  to  these  needs  than  that  which 
exists  in  California — an  architecture  roman- 
tic, peaceful,  subtle  and  charming  in  its 
proportions.  The  task  of  adapting  the  Mis- 
sion architecture  to  the  requirements  was 
given  Thomas  H.  F.  Burditt.  He  entered 
into  the  spirit  of  the  old  Padre  builders 
with  rare  intuition,  and  he  designed  a 
building  of  impressive  dignity 
and  hospitality. 


[174 


CALIFORNIA  BUILDING 
THE  ARCHES  OF  THE  COLONNADE 

The  Mission  Padres  had  built  neither  in 
magnificence  nor  in  magnitude,  and  as  both 
of  these  were  requisite  qualities  in  the  con- 
struction of  the  California  Building,  they 
presented  peculiar  problems,  and  were 
treated  with  the  thought  of  what  one  of  the 
old  Padres  with  a  limited  knowledge  of 
architecture  would  have  done  if  presented 
with  the  larger  problem.  So  it  seemed  that 
the  entrance  foyer  should  be  quiet,  and  mas- 
sive and  should  form  a  nucleus  to  all  parts  of 
the  building.  The  magnitude  of  the  edifice 
was  so  great  that  all  the  existing  Missions  of 
California  could  be  housed  therein,  and  in 
order  to  show  the  largeness  of  its  proportions 
and  varied  functions,  each  part  was  designed 
as  a  motif  in  itself  and  closely  related  to  that 
part  by  which  it  stood. 
From  the  forecourt  in  replica  of  the  For- 
bidden Garden  of  Santa  Barbara,  surrounded 
by  old  cypress  hedges,  by  driveways,  and 
walled  in  by  cloistered  arches,  one  can  find 
the  principal  entrances  to  all  the  main  divi- 
sions of  the  building,  and  also  to  the  admin- 
istrative portion  which  contains  the  executive 
offices  of  the  Exposition  and  the  official 
reception  and  banquet  rooms. 


[176] 


CALIFORNIA  BUILDING 
A  VISTA  IN  THE  COLONNADE 

The  cloistered  colonnades  so  intimately 
associated  with  Mission  architecture  have 
been  successfully  handled  in  the  Court  of 
the  California  Building.  The  molds  for  the 
columns  of  the  arches  were  made  by  the 
architect  himself,  to  give  the  semblance  of 
age  and  that  each  should  differ  from  the 
other.  It  was  most  necessary  to  avoid 
mechanical  regularity  in  any  feature  of  the 
building,  and  in  consequence  all  the  details 
vary,  so  that  no  two  that  are  exactly  similar 
are  placed  near  each  other.  The  arches  are 
made  of  slightly  different  radii,  and  the 
bells  vary  both  in  size  and  design.  There 
are  ten  main  groups  of  entrances,  but  no  two 
of  them  are  in  any  way  similar,  and  it  was 
through  these  means  that  the  attempt  was 
made  to  obtain  a  varied  change  of  inter- 
est in  plan,  mass,  silhouette  and  detail  and 
the  lack  of  precision  which  must  have 
existed  at  the  time  when  the  old  California 
Missions  grew  into  being. 


[178] 


CALIFORNIA  BUILDING 
THE  FORBIDDEN  GARDEN 

There  had  grown  on  this  location  for  forty 
odd  years,  a  hedge  of  cypress,  weary  with 
its  age,  and  groups  of  trees  forming  wonder- 
ful masses  of  foliage  to  charm  the  eye.  This 
happy  circumstance  was  cleverly  utilized  by 
the  architect  in  designing  the  court  of  the 
California  Building.  A  replica  of  the  en- 
closed Garden  of  Mission  Santa  Barbara 
was  laid  out  within  the  boundary  of  this  old 
hedge  and  planted  with  old-fashioned  flowers 
such  as  would  have  delighted  the  Mission 
Fathers. 

In  the  center  is  a  fountain  similar  to  that 

at  Santa  Barbara,  and  the  quiet  plash  of 

its  water  adds  a  touch  of  charm  and  romance. 

The  bell  tower  of  the  building  throws  an 

afternoon    shadow   over    the   garden,    and 

within  a  niche  in  the  tower  stands  the  statue 

of  Padre  Serra  overlooking  this 

peaceful  nook. 


[180 


CALIFORNIA  BUILDING 
THE  SEMI-TROPICAL  GARDEN 

To  the  south  of  the  California  Building,  off 
the  Esplanade,  lies  an  interesting  garden 
filled  with  various  species  of  cacti  and 
unusual  semi-tropical  plants.  Interspersed 
among  these  are  masses  of  brightly  blossom- 
ing dainty  flowers — baby  blue  eyes  in  the 
spring  and  others,  equally  lovely,  as  the 
seasons  change.  In  a  sheltered  nook  rise 
the  tall  slender  stalks  of  rare  bamboo,  sent 
from  a  private  garden  in  Bakersfield. 
The  massive  walls  of  the  building  form  a 
rich  background.  Their  appearance  of  sta- 
bility, enhanced  by  a  slight  batter — that  is 
a  slight  receding  from  the  perpendicular — 
is  shown  by  a  least  visible  thickness  of  three 
feet.  These  features  are  evident  in  every 
wall  throughout  the  exterior  of  the  building. 
Within  the  corridors,  the  floors  appropri- 
ately are  paved  with  red  brick,  and  the 
ceilings  are  beamed  and  roughly  finished. 


[182] 


NETHERLANDS  PAVILION 
AS  SEEN  FROM  THE  LACUNA 

The  Pavilion  of  the  Netherlands  is  located 
sufficiently  near  the  Laguna  to  be  reflected 
within  the  pool.  The  high  dome  is  adorned 
with  four  clock  towers  and  a  forest  of 
flagstaff's  and  spires.  K.  Kromhout,  who  de- 
signed the  building,  followed  the  modern 
ideas  of  the  present-day  school  of  architects 
in  Holland.  The  ultra  style  of  the  Pavilion 
fails  to  recall  the  staunch  and  dignified  brick 
structures  for  which  the  Dutch  are  famous, 
but  it  is  a  striking  edifice.  The  tiled  panels 
are  lovely  and  the  warm  colors  used  in  the 
exterior  decorations  most  attractive. 
When  viewed  from  Administration  Avenue, 
the  numerous  towers,  fluttering  pennants 
and  harmonious  colors  are  set  off  to  best 
advantage  by  the  trees  along  the  Laguna. 
About  the  building,  the  Hollander's  love  of 
flowers  is  strongly  in  evidence.  Ten  car- 
loads of  bulbs  and  shrubs  were  imported 
for  the  horticultural  display. 


[184] 


ITALIAN  PAVILION 
THE  PIAZZETTA  VENETIA 

The  Italian  Pavilion  consists  of  a  group  of 
eight  buildings,  combining  architectural 
styles  of  the  fourteenth,  fifteenth  and  six- 
teenth centuries.  The  main  entrance  to  the 
pavilion  is  on  the  west,  and  a  broad,  low 
flight  of  steps  leads  into  the  Piazza  Grande, 

? raced  by  a  fountain  by  Tacca  and  pieces  of 
talian  sculpture.  On  the  left  is  the 
medieval  palace,  containing  authentic  works 
of  art  of  many  ages.  Facing  this  is  the 
Lombard  palace,  of  the  period  of  fourteen- 
hundred,  used  by  the  Italian  Commissioners 
as  a  reception  hall.  The  Royal  Salon  and 
Casa  Italiana  form  the  east  wall  of  the  main 
court.  The  inner  courts  are  beautified  with 
fountains  and  statuary  groups.  Covered 
passageways,  supported  by  slender  pillars, 
extend  around  three  sides  of  the  piazzetta, 
and  add  a  delicate  charm  to  the  enclosure. 
The  Venetian  Well  in  the  center  is  a  charac- 
teristic note,  and  the  stairways  leading  to 
the  upper  verandas,  and  the  niches  about 
this  court,  are  delightful  in  design.  The 
outer  elevation  of  the  main  building  is  of 
the  sixteenth  century.  Within  the  Casa 
Italiana  there  is  an  exact  reproduction  of 
the  library  of  the  S.  Maria  delle 
Grazie,  Milan. 


[186 


ITALIAN  PAVILION 
IN  THE  COURT  VERROCHIO 

The  arcade  which  connects  the  Etruscan 
Tower  with  the  Bargello  Hall  separates  the 
smaller  court  of  the  Italian  Pavilion  from 
the  Piazza  Grande.  The  most  attractive 
feature  in  this  ideal  court  is  the  staircase 
and  balcony,  done  in  the  period  of  the  four- 
teenth century,  with  a  most  interesting 
composition  of  the  flat  walls,  pierced  by  a 
graceful  double  arch,  attractively  spotted 
with  plaques  and  brightened  by  the  color  of 
the  Delia  Robias  and  the  geraniums  blos- 
soming through  the  balustrade.  A  delicate 
touch  is  given  by  the  Fountain  of  the  Winged 
Boy  with  the  Fish,  by  Verrocchio,  which 
occupies  the  center  of  the  stone-flagged 
court.  To  the  left  of  the  staircase  is  a  mural 
fresco  depicting  the  "Return  from  the 
Crusade." 

Old  iron-framed  lanterns  hang  from  the 
gray-toned  ceilings  of  the  arcades.  The 
coloring  of  the  walls  and  pillars  is  stone  gray 
blended  with  shades  of  brown  and  grayish- 
blue.  The  vivid  green  of  the  sun-lit  grass 
within  the  Piazzetta  Venetia  relieves  the 
sober  color  scheme  of  this  court.  The 
balconies  are  lined  with  blooming  flowers, 
and  shrubs  and  plants  in  artistic  recep- 
tacles add  to  its  attractiveness. 


[188] 


AVENUE  OF  THE  NATIONS 
TOWER  OF  SWEDEN'S  PAVILION 

The  Avenue  of  the  Nations  extends  from 
the  Exposition  group  of  Palaces  in  a  diag- 
onal direction  westward  to  the  Marina,  and 
is  lined  on  either  side  with  the  pavilions  of 
the  Foreign  Nations.  In  the  picture  there 
is  a  glimpse  of  the  Canadian  Building  to  the 
left,  and  prominent  in  the  view  is  the  char- 
acteristic Swedish  tower,  typically  northern, 
and  interesting  in  detail. 
Immediately  beyond  is  Bolivia's  Palace,  to 
an  equal  degree  typical  of  the  south,  fol- 
lowed by  the  pinkish-toned  building  erected 
by  Cuba.  Denmark's  Pavilion,  on  the  left 
of  the  Avenue  adjoining  the  Palace  of  Fine 
Arts,  is  distinctly  individual,  marked  by  its 
towers  which  reproduce  several  historic 
towers  in  Denmark,  and  the  moat  in  which 
frogs  croak  at  night.  The  interior  is 
arranged  to  represent  the  rooms  of  a  gentle- 
man's country  home.  On  the  hillside  to  the 
south  are  several  avenues  about  which  are 
grouped  others  of  the  Foreign  Pavilions — 
the  picturesque  gardens  of  Japan,  the  open 
court  of  France,  with  its  Rodin  bronze,  and 
the  dignified  pavilions  of  Australia,  Norway, 
Greece  and  many  other 


190] 


THE  ESPLANADE 
A  VIEW  OF  THE  FOREIGN  PAVILIONS 

The  pavilions  of  the  Foreign  Nations  are 
on  the  south  side  of  the  Esplanade,  west- 
ward from  the  group  of  Exposition  Palaces. 
In  the  foreground  of  this  view  is  seen 
Canada's  stately  building,  guarded  by  the 
massive  British  lions.  The  admirable  and 
comprehensive  exhibit  within  has  aroused 
great  admiration  and  established  a  standard 
for  such  displays.  Beyond  is  the  pagoda  of 
the  Chinese  gardens,  and  the  tea  houses, 
with  their  roofs  colored  in  the  wonderful 
yellow  which  occurs  so  often  in  the  old 
Chinese  rugs. 

The  slate-colored  dome  of  Argentina's  ornate 
Palace  precedes  the  pinkish-toned  Nether- 
lands building  seen  in  the  distance — the 
rather  whimsical  style  of  the  latter  adding 
a  distinct  note  to  that  section  of  the  grounds. 
The  park  to  the  south  is  distinguished  by 
two  Oriental  buildings  erected  respectively 
by  Siam  and  Turkey.  The  first  is  an  exact 
copy  of  a  royal  pavilion  in  the  Garden  of 
the  Maha  Chakkri  Palace,  at  Bangkok.  The 
latter  is  equally  typical  of  the  East,  marked 
with  dome,  minarets  and  spires,  and  includes 
the  main  pavilion  and  a  near-by  mosque  and 
prayer  tower,  connected  with  it 
by  a  corridor. 


[192] 


THE  ESPLANADE 
A  VIEW  OF  THE  STATE  BUILDINGS 

The  buildings  erected  by  California's  sister 
Commonwealths  occupy  the  district  west  of 
the  California  Building,  and  the  north  line 
of  the  Esplanade  to  the  Marina.  Designed 
in  various  individual  and  dignified  styles, 
surrounded  with  handsome  lawns  and  beau- 
tiful gardens,  they  have  formed  a  most 
important  and  interesting  feature  of  the 
Exposition  grounds.  Many  of  the  buildings 
reproduce  historic  landmarks.  The  golden 
dome  of  the  Massachusetts  State  House  is 
as  dominant  a  feature  at  the  head  of  the 
Esplanade  as  is  the  original  on  Beacon  Street 
in  Boston.  The  loggia  of  Independence  Hall 
is  familiar  enough  to  bring  a  patriotic  thrill 
to  the  heart  of  the  loyal  American,  even 
were  not  the  cherished  Liberty  Bell  on  view. 
Another  Colonial  feature  is  the  Trenton 
Barracks,  Washington's  headquarters  in 
New  Jersey;  and  "Homewood"  takes  one 
back  to  Charles  Carroll,  of  Carrollton,  and 
Baltimore  in  1802.  The  massive  log  build- 
ing from  Oregon  is  fairly  representative  of 
that  state  of  virgin  forests,  notwithstanding 
the  mistaken  attempt  to  reproduce  the 
classic  Parthenon  in  such  a  crude  medium. 
In  this  view  the  magnificent  building  for 
New  York  is  in  the  foreground.  Beyond,  in 
the  order  named,  are  the  buildings  for 
Pennsylvania,  New  York  City,  Illinois, 
Ohio,  Utah  and  Massachusetts. 


[194] 


THE  ZONE 
A  HOLIDAY  GATHERING 


The  Zone,  while  providing  excellent  enter- 
tainment and  relaxation,  is  above  the 
standard  established  by  the  amusement 
sections  of  former  expositions,  many  of  its 
concessions  being  of  an  educational  nature. 
This  is  notably  true  of  the  Panama  Canal, 
which  appears  on  the  left  of  this  picture. 
Because  of  its  value  as  a  faithful  repro- 
duction of  the  great  work  which  the  Expo- 
sition commemorates,  many  consider  it  as 
deserving  a  place  in  the  main  grounds. 
Almost  equal  to  this  in  educational  interest 
and  quite  ranking  it  in  beauty  are  the 
reproductions  of  the  Grand  Canyon  with  its 
Hopi  and  Navajo  Indians,  and  Yellowstone 
Park.  Old  Faithful  Inn  in  the  latter  is  a 
favorite  place  for  social  gatherings. 
For  pure  fun  and  gaiety,  Toyland  Grown 
Up,  that  whimsical  conceit  especially  built 
for  youngsters,  old  and  young,  has  provided 
merriment  for  thousands.  Of  thrillers  that 
raise  the  hair  and  make  the  heart  beat  high 
and  without  which  no  amusement  section 
would  be  complete,  the  Zone  announces  its 
full  quota  with  much  rattling  of  machinery 
and  many  shrieks  of  joy. 
And  the  presence  of  strange  peoples,  one  of 
the  recognized  features  of  these  places,  is 
also  noticeable  along  the  Zone.  A  Maori 
tribe  from  New  Zealand,  Samoans,  Hawaii- 
ans,  Aztecs  from  Old  Tehauntepec,  and 
others  bring  their  customs  and  costumes 
from  unfamiliar  lands. 


196 


THE  ZONE 
THE  BIZARRE  DECORATIONS 

There  is  something  naive  about  the  Zone. 
It  presents  its  colossal  grotesques — its  gar- 
gantuan Uncle  Sam,  its  monstrous  elephants 
—rather  with  an  air  of  acknowledging  that 
it  cannot  compete  with  the  beauty  one 
leaves  behind  when  one  turns  in  under  its 
gay  flags  and  lanterns.  Here  is  frankly  the 
spirit  of  abandon.  To  the  right  and  left 
the  bawling  barkers  shout  their  enticements, 
begging  one's  patronage.  Up  and  down  the 
street  the  endless  patter  of  the  feet  of  men 
and  women,  the  wheeze  of  the  little  electrics 
and  the  blare  of  brassy  music  ebb  and  flow. 
Here  and  there  is  the  dominant  note  of  the 
Exposition,  its  pastel  shades  of  burnt  orange 
and  red,  and  its  indefinable  blue.  They 
flutter  forth,  hooped  about  the  flagpoles 
with  Oriental  effect.  Those  wonderful  lan- 
terns, that  delightful  medieval  touch  which 
one  finds  through  the  grounds,  are  here 
employed  with  great  effect. 
When  one  is  tired  of  gigantic  horses  with 
ever-impending  hoofs,  tired  of  large  plaster 
ladies  whose  complete  poise  does  not 
entirely  atone  for  a  rather  excess  of  buxom- 
ness,  one  can  always  turn  to  these  reminders 
of  the  beauty  that  is  the  essential  char- 
acteristic of  the  Exposition  itself. 


[198] 


THE  FIREWORKS 
STAR  SHELLS  AND  STEAM  BATTERY 

Notwithstanding  the  excellence  attained  by 
the  Exposition  in  the  beauty  of  its  coloring, 
the  poetry  in  its  courts  and  architecture,  the 
mystery  and  glamour  of  its  illuminations, 
the  spectacular  element  could  not  be  over- 
looked. This  finds  expression  in  the  fire- 
works that  are  let  loose  on  the  Marina 
several  evenings  each  week.  Here,  however, 
a  distinct  advance  has  been  made  upon  the 
familiar  pyrotechnic  display  of  former  events. 
The  use  of  powerful  scintillators  with  their 
colored  rays  playing  upon  smoke  clouds  and 
flying  devices  from  exploded  bombs  high  in 
the  air,  or  upon  weird  shapes  of  steam  sent 
out  by  the  engine  on  the  border  of  the  yacht 
harbor,  lends  infinite  variety  and  beauty. 
In  several  of  the  numbers  the  scintillators 
secure  the  effects  unaided,  their  lights 
making  strange  figures  in  the  heavens. 
"Spooks'  Parade,"  "Aurora  Borealis," 
"  Devil's  Fan,"  are  some  of  the 
ideas  suggested. 


[200 


ZONE  SALVO 
THE  FINAL  "BIG  NOISE" 

The  Exposition  Fireworks  are  under  the 
direction  of  William  D'A.  Ryan,  Chief  of 
Illumination.  On  each  occasion  a  set  pro- 
gram is  followed  consisting  of  twenty-four 
numbers.  At  the  opening,  a  salute  of  ten 
detonating  bombs  and  a  large  rocket . 
announce  the  event.  This  is  followed  by 
features  of  the  scintillator  lights,  combi- 
nations of  these  with  "team,  with  smoke 
bombs  and  with  orange  showers  and  Japanese 
daylight  shells,  and  by  fancy  star  shells, 
festoon  rockets  and  candle  fountains.  The 
climax  is  reached  in  the  Zone  Salvo  when  a 
tremendous  explosion  of  hundreds  of  deto- 
nating devices  occurs,  with  rockets  and  star 
shells  exploding  in  the  air,  the  rays  of  the 
scintillator  coloring  the  smoke  clouds  in 
brilliant  hues;  and  amidst  it  all,  high  above, 
suddenly  appears  a  beautiful  American  flag 
caught  and  followed  by  the  ray  of  a 
powerful  white  searchlight  as  it 
floats  away  from  sight. 


[202 


HERE  ENDS  THE  ARCHITECTURE  AND 
LANDSCAPE  GARDENING  OF  THE  EXPO- 
SITION, WITH  AN  INTRODUCTION  BY  LOUIS 
CHRISTIAN  MULLGARDT.  THE  DESCRIP- 
TIVE TITLES  HAVE  BEEN  WRITTEN  BY 
MAUD  WOTRING  RAYMOND  AND  JOHN  HAM- 
LIN.  EDITED  BY  PAUL  ELDER.  PUBLISHED 
BY  PAUL  ELDER  AND  COMPANY  AND  SEEN 
THROUGH  THEIR  TOMOYE  PRESS  UNDER 
THE  TYPOGRAPHICAL  DIRECTION  OF  H.  A. 
FUNKE  IN  THE  CITY  OF  SAN  FRANCISCO 
DURING  THE  MONTH  OF  SEPTEMBER,  NINE- 
TEEN HUNDRED  AND  FIFTEEN 


J77-/3 


000  742  210 


